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JANUARY 1922 THE- PICTUR&GOE-R
cWelshJPea/ston T^t'dsents
sa
A George Pearson super - production, with
Betty Balfour, Hugh E. Wright, Fred Groves,
Mary Brough, Annette Benson, and an
j^ all star cast.
»«i —
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$** w^r
&>
**
. im www
Above •'
S^ Mary trough and
{. Ambrose Manning.
I
E* Right : Betty
JR" Balfour and
AY /vet/ Groves,
tfff. Below :
Annette
Wil
son, I om
Mo
Betty Balfour, and
Hugh E. Wright.
fcx-
•iaasi
tfF*1-
C^
ai
Above : Betty Balfour as " Squibs Hopkins." Below : Belly
Balfour, I- red Groves, Annette Benson, Cronin Wilson, and
Hugh Wright.
*mm
M
,w
Lm * ■ - «
\ '<
m
Few pictures, if any, carry such an
appeal to the British public as does
' Squibs,"a super-excellent comedy
drama of London life, brimful
of delightful humour and tender
sentiment.
DON'T MISS THIS WONDERFUL ALL -BRITISH PRODUCTION.
44
JANUARY 1922
Ask for
TURF
4^ CIGARETTES
g£ 20 -If.
JANUARY 1922
THE PI CTU R&GOE-R
^^^^ffi2^^^
CONTENTS
1
1
FRONTISPIECE: Jane Novak
THE WHISPER An editorial
LONDON ON THE SCREEN
filming the worlds wonder city.
OPENING THE BRITISH OYSTER
Feeling the pulse of British studios.
TEN YEARS OF JESTING •
About Al Christie and Ins 700 comedies.
RUDOLPH THE ROMANTIC
An interview with popular Rudolph Valentino.
AT THE STOLE OPERA HOUSE ... 16
Seeing films with Mr. and Mrs. Plcturegoer
1921-AND ALTER ••■ 17
What has been and what will be.
THE CULT OF BEAU! V. by ALIA
NAZI MO VA , . ■" 21
The film favourite gives her recipe for loveliness.
MOVIES IN THE MAKING THE
PRODUCER ... 2-
The first oj a new series of behind-the- screen
articles.
FILM STAR AND FATALIST ... 24
Juanita Hansen expounds her views on h,e.
PICTUREGOF.R ART GALLERY 26—30
Eileen Sedgwick. George Cheseboro Max Under.
Alice Lake, and I lorence Vidar.
THE SCREEN FASHION PLATE 31
A pate of pictures a la movie mode.
'THE PIC1UREGOER" CALENDAR
A Constance Talmadgc calendar for 1922 32—33
AS OTHERS SEE THEM 34
How the film stais see themselves
on the screen.
"THE GLORIOUS ADVEN-
TURE" •• 35
The story of the great Stuart
Blacklon production.
COMPRESSED CAREERS:
No. L. ELSIE FER-
GUSON 39
A Biography in verse.
TOMORROW? 40
What films may be like m 1942.
CHANGE ci THE; KlNl-M \
Another article on scenario W'd- 42
ing by Jeannic MacPherson.
THE PERSISTENT HONEY-
MOON ERS 43
" Mary " and " Doug'' interviewed
in London.
SHADOWLAND 49
Critical gossip of the month.
WHAT DO YOU THINK? 6?
The piciuregocrs pulpit.
gaazB^^^nai^^^ggfl^^zzazz
^ZES^^^^m^BM
THE- PICTURE-GO E R
JANUARY 1922
"Deautiful Jane Novak came to the screen after two years' experience in musical-
■L-' comedy. Some of her best-known pictures are The Tiger Man, Wagon
Tracks, String Beans, The Temple of Dusk, His Debt and The River's End.
She is five feet seven inches high, and has blonde hair and blue eyes.
L
JANUARY 1922 fE^s THE PICTUREGO&R
PICTURE-GO&R
VOL. 3. NO. 13.
JANUARY, 1922.
4 w^H"'wi 14
V
\m«
DOftJS pfX I L^rH PR.PE
Hegislercd for Transmission
by Canadian Magazine post.
THE WHISPER
IF a man were to say to you " You must wear a triangular hat because I say so,"
you would in all probability tell bim to go Well, you would tell bim to go.
But if tbat same man were to quietly don a triangular hat bimself and go
about bis business wearing it without a word, tbe cbance is tbat you would watcb
bim and watcb bim and — Wear one yourself.
tj In tbe House of tbe Proverb-Mixer is a hopeless tangle that runs somehow
this way : " You Can Lead A Horse To Water, But When It Comes To Shouting,
The Whisper Is Home First Every Time.
We don't quite know what this means; but we've got the sense of it!
And we should say the MOTION PICTURE is Whisperin-Platinum.
It never shouts. Always it gently whispers. And we watch and watch . . .
The naughty little boys are very readily blamed for "seeing it on tbe Pictures,
but other things than safe-opening and train-robbing are to be " seen on tbe Pictures.
The MOTION PICTURE has shown us, on tbe whole, a refinement that
cannot fail in the end to make the world a better world. It has given the meanest
amongst us a sense of art that must in the end create a demand, and make more
beautiful homes. Thoughtfully handled, it could change the architecture of tbe
world in a few decades — and for tbe better — just by suggestion and example. // can
be the strongest weapon in the War on the Slum.
There is no teacher like it. We pay our shillings to laugh or weep (as tbe
case may be), but we cannot help but learn.
There are tremendous possibilities.
CJ If the MOTION PICTURE whispered long enough that there were no such
things as villains (by leaving them out), should we all become suddenly virtuous
and forget about sin? If it never showed us anything but sylvan glades, should
we burn our cities and get back to the land ? Can it make us contented when
there is nothing to be contented about? Can it make us laugh when there is no
joke? Can it make unnecessary the Wiseacres of tbe Bench who "blame things
on the Pictures?
Just by whispering ?
^ Ob, think, of tbe possibilities!
*
/ ilming " The
Yellow I law " at
Bridge, Centre:
Maurice I
instance Collier
III I fit oltl
torn lltur I
and ( Inn
I rafalgar Suttari .
The lure of London what is it ?
Kipling immortalised it in haunt-
ing metre as he grilled on the plains oi
India ; Service thrilled to it m free-thing
measure as lie froze amidst the eternal
snows of Canada. Everywhere men have
tried to translate their love of London
into concrete terms; even the man in
the street, who says. " I don't know what
there is about it, hut there's nowhere
else like London."
W'itli this nameless fascination it holds
>r exile. Londonder and foreigner alike,
with its history ol a thousand years,
its power as the hub ol Empire, and
its romance that peeps at you
around every street corner, London
could not fail to find its niche in
the voungest of Art's abiding-
places, the Screen. And pro
ducers are not unmindful of
its lure, for many are the
films that have London as
their background ; and there would be
many more were it easier for the camera
to gain admis-
sion to some of
the closely-
guarded and
sac red precincts
of official
London.
But when a
story demands
London set
tings, and the
metropolis itsell
is unavailable,
there are always
those marvels
the studio car
whom picture-
makers can rely. Some of the
most realistic- London locations
ha\ e been studio " sets," and
although many Lad mistakes
have been made in reproducing
parts of the great City, there
of ingenuity,
penters, upon
are some films that are amazingly true
to London life.
A picture just trade-shown is The Great
Adventure, adapted from Arnold Bennett's
piny made famous in this country by
Henry Unley. Critics say that the Wes1
minster Abbey scenes of the film, where
Priam baiil watches Ins own funeral, are
well nigh perfect ; and these were all
built in an American studio from photo-
graphs and architect's specifications.
Lionel Barrymorc was tin- hero of The
Great Adventtin ; his brother John was
equally fortunate in l)i Jekytt mid
\h Hyde, where the scenes portraying
mid-Victorian London were especially
good I Jut John Barry more does not
always trust to the studio; he was over
here in London a short time ago filming
Laker Street for the adventures ol the
immortal Sherlock. But both Lionel ami
brother John went very far astray in the
above-mentioned pictures, with their
icprcsentations of London's trade-mark
the Policeman.
The Stoll Company have made some
fine films of London ; but in their version
of the redoubtable Holmes, the door of
the house in Baker Street was reproduced
in the studio. For, even though correct
London locations may be available, it is
usually easier to do the actual photo-
graphy in the studio — the crowds that
collect around the camera are not con-
ducive to finished acting on the part of
the players !
London should be getting camera -wise,
though. It is no uncommon thing to see
a small group of nun with tripod and
machine, choosing their pitch and starting
to grind. And often a taxi-cab, with
drawn blinds, harbours a camera and
camera man, intent upon their work of
pic tuiing the busy and unconscious
streets of the great town.
A Stoll picture, The Yellow Claw, shows
the highways and hvwav^ of London'.-.
river. The Thames, with its many
L
JANUARY 1922
THE- PICTUREGOE-R
bruises, its forsaken Wharves and us air of harbouring ;ill
the tragedy in the world, is a godsend to the writers of
mystery stories . and Sax Kohmer has utilised it well in
lus tale ol opium and murder in The Yellow (law.
Pickens' pictures of necessity must capture the spirit of
()|<l London Lincoln's Inn lields have been "shot " for
Bleak House, and t lie low. tiny corner building ne.it' has
been immortalised on the screen for The Old Curiosity
Shop. In The Amazing Ouest "/ Mr. Iirnest Bliss, Henry
Edwards and Chrissie White wander amongst London's
poor in the search tor adventure, and a livelihood Again,
in The City of Beautiful Nonsense, we follow Henry Edwards
from the room above the greengrocer's to Kensington
Gardens, where his romance begins; and in Tin Duchess
ul Seven Dials, the real thing in London slums was used
as a setting by the London Film Company.
Chief amongst the Americans who have journeyed over
here " on location " is Bryant Washburn, who made llu
Road to London entirely in this country. This film, although
it has a romantic storv, is almost a travel picture, eon
taining, as it does, so many line views of the metropolis.
Washburn had great difficulty in securing permission to
film some of the exclusive corners he had determined
to include in Ins photoplay ; but he succeeded where
many others had failed, and the result caused great
interest in America, where London is a sort of El
Dorado to many who can never hope to see it in
real life.
Another mystery story, The Secret of the Hills,
starring Antonio Moreno, has good London studio
reproductions; but Eddie Polo, for his Vanishing
Dagger, came over here and filmed London's parks,
great mansions, and poverty stricken corners of
Whitechapel for his serial.
They say that the studio sets for The Message
From Mars arc wonderful No studio would hole
them, so the Metro Company hired the great Armoury
in New York. Here they built a whole Kensington
terrace tall Victorian houses that are typical of
middle .lass respectability
The Liniehouse scenes in Broken Blossoms created
much comment, and probably few jktsohs
looking at the high archways, the river banks,
and the wharves realised that they were frail
Structures, erected and demolished by the
ever Imsv carpenters. In Dream Street, his
latest, Griffith was not quite so successful ; for
the Liniehouse of this latter picture had too
Piccadilly Circus in " Squibs." Betty Balfour is
seen as a flower-girl on the right of the fountain.
■a— — BJBBMHBBB
fantastic an atmosphere to tit the squalor and
ugly reality ol that sordid neighbourhood
The Old London ol the (.ie,it lire has twice
been re-built in the last tew mouths. I irst,
for The Glorious Adventure, Lady Diana Manners
film, when the fire itselt is pictured in thrilling
reality. And second, lor the Scourge, a Rafael
Sabatini storv ol the Greal Plague, which
shows the Cheapside of the days of Charles II.
London night life, with its ironic contrasts
of great hotels and humble coffee stalls, has
only recently been filmed. One night last
month the staff ol Lathe Pictorial made a
pilgrimage of the streets with then cameras
and gieat Sunlight arcs. Piccadillj Circus,
for the first time, was filmed at night , the
Cenotaph, in all its glory of noble solitude,
was screened , the wrecks of humanity on
the Embankmenl ; and the homeward
revellers of the dance clubs .mil
supper parties all unwittingly
Ralph Graves and Carol
Dempster in a studio re-
production of Limehouse.
-
Donald Crisp directing "Appearances
Russell Square.
became him players for the nonce.
Amongst the celebrities to be cap-
tured by the movie camera on this
Occasion was Sir J. M. Dune The
famous novelist was attracted into the
street by the lure of the Sunlight arcs,
and the camera men lost no time m
securing a film record of the creator of
Petei Pan.
Dive us more of London on the
- rei a sav picturegoers the world over.
To Britishers, in particular, it means
the enshrinement of desire, the ultimate
pride oi a greal ra< e I ondon, full of
adventure, romance, and colour, in-
herited from generations ot he t Miib
vt \
THE- PICTURE-GOE-R
JANUARY 1922
^ebEITISH
J>u W.A. Williamson
(l) Happiness a^Harlesde
Pearson {kneeling} directing Rex Davis, Elise Craven and Betty Balfout
I have never British picturegoers complain that they know less about
seen a movie the personalities behind British studios than they do about
our American cousins. There's a reason. In the matter of
publicity, British movie-makers are a little more than shy.
At last, however, the oyster is to be opened ; the writer
of this article having undertaken the praiseworthy task
of humanising British studios. If he lives through the
Spring, it should make a very interesting series.
seen a mo\ te
ai toi killed before
the camera ; and
when someone said
Lo me: " R e x
! >.w is is going to
fight Matt Wells
to-day with one hand'" I rushed to the
neatest taxi driver and begged to be driven
to the Welsh Pearson studio at Harlesden.
Do you know where i1 is ? asked the
driver. 1 didn't.
' Neither do I," he retorted. " Bui jump
in, and I'll do my best."
Ilis best consisted of driving me three
times round the wilds of Willesden. When
I was thoroughly cowed, he pulled up out-
side a building that looked a Cross between
a chapel and a skating-rink, stung me for
I rang the bell,
and si, iled my
business briskly :
1 ve come to
see the big fight.
I hope I'm in
time
"Plenty of
time," said the keeper of the door. " It'll be
to-day fortnight. Will you wait ? "
Indignantly 1 sought Rex Davis in his
dressing room, and demanded an explanation.
Postponed on account of the fog," said
Rex. " 1 thought everybody knew that."
Then, seeing my crestfallen face, he added
kindly : " Hut come down to the- studio in
a minute and I'll let you see the villain bite
my hand."
It seemed a poor substitute for the ^reat
boxing match that is to be the pihci de
resistance of Maud Em'ly ; but I assented
sixteen shillings, and left me to my fate,
Left : E. Sorley as the Convict. Below . Emile Lauste {Camera-man), George Pearson
dor), Hex Davis and Hetty Balfout discussing a scene for " Maud Em'ly." j
JANUARY 1922
THE- PICTUR&GO&R
v>,ih good, grace "And I'll lei you sec
n muscles," concluded Rex, magnani-
mously- " I'm in the pink ol condition."
1 gave him a critical once-over and
i d.
' Rut all the same," 1 cautioned, "I
think von had better use both hands on
Matl Wells "
" h can't be done-," said Rex, mourn-
fully. " You'll see why when the villain
lutes my hand this afternoon. I must enter
the ring crippled; the scenario says so.
Bui let's go dovt nstait s
We descended to the studio, where George
Pearson was supervising clo?c-ups of an
incredibly villainous villain. ("The hand
biter." said Hex, in parenthesis
Chis is the same George Pearson who
produced Nothing Else Matters and Squ
rake a look at him, " on the floor.' and
you will see at oiu e why all his pictures
bear the sterling stamp of the master
producer.
The scene being shot is tensely dramatii
The villain, an ex-convid ot the hooligan
class, has been engaged m the ancient
English sport of wife-beating, lie se>'s the
body of the maltreated woman on the
. believes himself to be a murderer,
and llees from the room
'I'Ik sceni is rehearsed again and
The actor, E. Sorley, whose wonderful
powers ot Eacial expression .all forth un-
stinted admiration from the onlookers,
perfei t in his part. ' bait < a
Pearson takes no chances He goes through
the pari himseli to show how he visualises
the scene, and proses that he is an ex-
ii actor.
" Keep your eyes foeussed on the bod
always," he cautions. " Never mind what
you hump into when going out ol the scene,
never raise youi eyes from the bodv. And
remember the lour emotions, Surprise,
Horror, Hope, Feat one, two, three, lour ■
we'll ke it by numbers."
\i Ias1 ih" producer, is satisfied. Hi
kneels on the floor behind the camera.
Iiom somewhere, out of sight, a gramo-
phone disgorges mournful music.
Turning ' " warns George Pearson.
" My God, . hat ■ Unit ! I told the expression,
1 1( )l .I > I i (i ane your neck forward
"MY GOD ! ' YOU'VE Kll LED
HER ! " The producer shrieks out the
words in a perfect frenzy of horror, and
the horror is reflected instantly on the
actor's face. " Now, exit. Paster, ;
Don'1 raise your eyes ' All right. Cu1 !
lnilei funis of the voice play such an im
portani part in George Pearson's method of
direction thai it is impossible to gr
perfeel pen picture of the scene. But,
believe me, he carries his artistes with him
every inch ol the w a y.
Another painstaking rehearsal precedes
the re filming of the scene from a different
Two hours' work for, perhaps, thirty
feel of film. Bui worth it because the result
is as near perfection as a producer can hope
el
Then the lights were switched oil and
i ned to >-o i h again with a jerk to
hear Rex say, Meel I >e1 1 \ l lalfoui ."
In some respects Betty Balfour is a
disappointment. She is shy, almo I
demure, and uncomfortably polite. She
t 1 hrow things at you, or indulge
in tomboyish dances. The cup of tea
she made for me had no salt in it,
and she placed no ticks on my
chair for me to sit on. Otherwise she
is very nice indeed.
Then Welsh-Pearson walked
tudio to greel me
two hearts beating as one. For
you must understand that the
pictures produced at the I larlcs-
den studio are never just George
pictures, but always
Welsh Pearson pictures. Thomas
Welsh and George Pearson go
through life as an amiable Jekyll
and II yde combination.
Mr. Welsh wanders about the
Studio radiating happiness and
goodwill towards artistes, assist-
ants, and his I le is the
answer to the conundrum:
" Why is everybody at the
Harlesden studio so happy ?
I le is a kind of male '" Polly-
anna ' but in common justice to
the man it must be
corded that he doesn't look
it. Mr. Pearson looks un-
commonly like Rudyard
Kipling. He is very shy.
\\ I- sat <iow n to tea to-
gether, and then a. hitch
■11 fiage JO.
Balfour HI
to remind
f that she can I <ok than
the grotesque sin
lot tn impersonate <<n the screen.
12
TME- PICTUR&GOE-R
k yen lea/zP
*frincr A
Above : Seal Burns and
Helen Darting.
Right : Baby Jane and '
Laddie.'
Because the vagaries of human nature
embrace the truism that comedy is
very near to tragedy that laughter and
tears are merely divided by a mental
thread finer than a strand of exquisitely
spun silk Al Christie has found humour
in his vibrations of the human note.
This king of film jesters has brought
to the screen the form of jesting that
brings spontaneous laughter to the
eyes and mouth through the path of
the heart. He docs not seek to raise
the guffaw by resorting to the grotesque
or the vulgar. The secret of this mer-
chant in screen fun is to persuade the
world to laugh with his shadow charac-
ters on the silver sheet, and not to
titter at them.
If you have watched an old-time
melodrama, you will realise the subtlety
that lies beneath the Christie theme
where film humour is involved, The
dark - visaged, grim - mouthed villain
springs from the shadows, and with a
sickening crash brings down his stick
on to the defenceless head of the hero.
There are angry murmurs, hysterical
shrieks, and, of course, hisses if the
foul deed " is witnessed by truc-dyed-
ia the wool-melodrama "fans." Later
in the play, when the " comic relief " is
introduced to lighten the heavy clouds
of drama, the funny man of the piece
smashes his stii k on to the resilient sur-
face of his pal's bowler hat. The house
rocks with laughter at the very deed
that a few minutes before had been
■<l with noisy resentment. Hut the
one had a tragic setting, and its successor
.1 i ouch of comedy, and the human side
of tins subtle dissimilarity converted
cavilling into chuckles,
Christie iva; delighted recently when
' eived from a lad) a letter iti which
she wrote telling him that she thought
"Baby Jane Hart" ami "Laddie" m
on. r,| liis rC( ent pi l ures were the
things she had ever seen. Loth
Top :
Helen
Darl
Right :
■ieve
Berte.
%a»/^\%'a^^«as
Al Christie, the " polite
comedy " king, who in
ten years of film work
has made over seven
hundred comedies.
the human and the canine assets to the film
in question played laughter-raising parts ;
but under the inspired direction ot Christie,
they had created the impression that they
were characters taken from every -day lite.
The human appeal had reached its mark.
In seven hundred comedies Al Christie
has exploited his delicately turned humour.
It has brought to the screen a popular brand
of comedy that has stood the acid test of
public opinion for ten years. Only the other
day, Christies celebrated their tenth anni-
versary by pulling down the last of Un-
original studios where the successful manu-
facture of mass production laughs, giggles,
and guffaws first commenced.
As a natural result of his desire to bring
to the silver sheet polite comedies, as
distinct from those of the slap-stick order,
Christie has enlisted film talent of an
outstanding order. Lor, to reflect from
the screen the true interpretation of
Christie's advanced ideas on comedy,
acting art of high order is demanded.
Xeal Burns, the actor with the fas-
cinating smile that has brought bright-
ness into numerous Christie comedies,
was a famous stage actor before the arc
lamps claimed him. When first he came
to the screen, his character-studies in-
clined towards the serious ; but Christie
speedily claimed him and converted him
into a film humorist.
I'hi- comedy genius saw the inherent
talent that this happy Scotsman - cum-
Irishman possessed In ./ I\n> oj S, w s. Xeal
Hums, the young man who claimed a pair
of twins as his own, presents the Christie
notion of human real-life comedy parti-
cularly effectively. He is the temporary
parent who proudly displays his tiny
children at his business office, encases a
brass band to escort him with them around
the town, and celebrates the good fortune
that he believes to be Ins with a big supper'
party. Then the climax arrives, with ludi-
crous results. Huns finds that the twins are
not his. The surprise that his wife informed
him of during his travels abroad had nothing
JANUARY 1922
THE PICTU RE-GO&P2
13
whatever to do with twins, but the acquiring of a new
ilat. Ik- wore the laurels of proud parenthood only to
have them unceremoniously dragged from him.
Although beautiful Dorothy Devore is a maihstaj ol
the special brand of humour produced by Christie, she
is a talented actress to her finger-tips. The comedy she
portrays represents one of the most difficult arts of a
lovely woman — that of raising laughter without losing
Iter womanly attractiveness. Charles Ray recently
borrowed her to play lead in his film. Forty-Five Minutes
From Broadway. Kay saw the acting ability of this
comedy queen, and he reluctantly parted with her when
Christie asked for her back. With Christie, Movii Mat/,
Man Versus Woman, and The Reckless Sex figured
amongst her best pictures.
Another successful plank in the policy of Christie's
comedies is the fact that he handles humour, not from
the tabloid point of view, but with an unusual breadth
of treatment. His film plays, on occasions, border on
the spectacular, and his casts are invariably large.
Lavish costumes and beautiful settings are part of his
production scheme. His is humour presented on the
grand scale.
Vet, withal. Christie has never allowed his success or
lavish producing methods to warp his judgment where
his policy of playing on human emotions arc concerned.
If you seek to draw him out on the subject of the value
of dazzling the eyes directed on to the screen with ex-
pensive costumes, beauty, and extravagant scenery,
he will smile at you with his reflective grey eyes and
say, " That is not everything. You may have the most
beautifully designed frame-
work, but here is an essen-
tial. Take a girl and make
the audience simply love
her ■ then take a boy. and
make them like him also.
Then keep them apart,
and the rest of the plot
take cart- ol itself."
And there is one
of Christies big-
gesl secrets of
success.
A second
reason for
Christ i e's
meteor-like
rise in the
film firma-
ment is the fact
that his ex-
perience of the pic-
ture play has not
always been con-
fined to the pro-
ucer's end of the
megaphone. Early
in life, when a hand-
some young Cana-
dian, he achieved
success on the stage.
He was one of the
young men who pos-
sessed the foresight
to realise the possi-
bilities of the mi a ing
picture when it first
loomed on the hori-
zon of practical
\ affairs in the enter-
■ tainment world.
He came to the
industry from the
stage when studios
n the real sense of
the word did not
exist . For t he\ v\ ci <
will
Barn
the pioneer days, when exteriors con
sisted ol rough, wooden sets with
canvas scenery, only erected when
brilliant sun was shining. The art oi
the arc lamp was then in its infancy.
Thus Christie grew up with the moving-
picture industry, and as is always
the case when new inventions are in
the process of evolution, his clever
brain was able to mould primitive
methods into new and original
channels.
When first he transported his
first company ot players ai ross
country and picked out a likely-
looking spot for his first studio,
he happened to select Hollywood.
Then there were no other studios
erected on that picturesque spot.
To-day there are twenty-eight,
and the thousands of pounds
that annually pass through these
mammoth halls of picture pro
duction are sufficient to take one's
mind off the war debt for a few
moments.
Christie has a theory that
producer, even though he
may control business in-
terests of huge dimension,
is not going to work .it
his best if his mmd is
too clogged with adminis-
trative detail. He re-
fuses to have anything
to do with the strii t
business side of his under-
takings
that is to
s a v , the
offices where
ledgers, cash
accounts and
balance-
sheets hold
sway. The
studio is his
field of ac
tivity, anc
t here h c
gives his
imagination
free rim, whilst
his brother deals
with the clerical
side ol Christie
Seniors creative
work. Christie
also raised
many stats to
stellar heights
Vera Steadman,
Fay Tine her,
Eddie Barry,
Hobby Vernon,
Karl Rodney,
Henry .M unlock,
and others. For
the portrayal of
humour of the
kind that Christie
has created re-
quires a standard
of ,i i 1 1 n g ap-
proa< hing t hat
reflected by the
d ra m ati( an d
emotional pla\ ei .
TH& PI CTU P. EGOE-R
JANUARY 1922
Otherwise Rudolph Valentino, the young Italian player whose part
in " The Four Horsemen " gave him his first big chance. He is
now one of the screen's most popular juvenile stars.
not attempt to transcribe it further, though,
even if the lynx-eyed printer's reader would
pass it, which 1 doubt.
" Hut my life is not my own,'' Rudolph said,
with a ghost of a sigh. " That is the one dis-
advantage of picture work. One makes ah
appointment ; a message comes from the
studio — and w litre is the appointment ? Gone !
And you have missed your tea," he said.
(He has a quaintly solicitous, old-world manner,
so chivalrous as to seem almost
Maybe Browning was an inter-
viewer as well as a poet.
Certainly when he wrote " Never
the time and the place and the loved
one altogether,'' he said a mouthful,
as our American cousins so pic-
turesquely put it from the inter-
viewer's standpoint at least.
Here was I in the most romantic
spot boasted of by modern, efficient
Hollywood, a tiny foreign restaurant
tucked away in a side street, at a
u, i romantic hour — that quiet,
meditative time between tea and
dinner, when t lie mist creeps in from
the sea and the purple night begins
to settle down over Los Angeles,
hiding the garish newness with
its kindly cloak of glamour.
But was / feeling ro-
mantic ? I was not.
For Rudolph Valentino
was half-an-hour late ;
and even the veriest worm
of an interviewer has a
turning-point.
I was preparing to go,
when a dark, handsome,
worried -looking individual
poked a very sleek, well-
brushed head around the
door. I he melam holy
face bright* ned with a
magnetic smile, and the
black eyes Hashed greet-
ing as Rudolph Valentino,
the culprit . i ame forward,
walking » ith a sort of un-
dulating motion that
spoke of grace and
gave not a single hint of
eff< mina< \ .
" I am so veree, veree
sorry," he said. He has
.1 taint Italian ac< cut.
charming because it is so
differenl in its melli
tin, iii< richness to that of
the \niri i. anese ami m
which it is heard. I shall
fantastic in the new world of feminine
equality). " But never mind — we will have
Turkish coffee and honey cakes instead."
It sounded hopeful, and I assented, trying
to cloak my eagerness for sustenance under
a polite show of indifference.
It seemed a propitious moment, as Valen-
tino glanced out of the window, his finely-
modelled profile silhouetted against the lading
sunset, to ask the principal and most spec-
tacular question of my interview.
" Do vnu think women really like cave-
men ? "
He turned, that same fascinating smile
bringing into display his even, gleaming teeth.
" I am very sure they do," he said. " True,
thej may pretend they don't, but it is never
! tiling" more than pretence. They like to
be conquered, to find self-expression in sub-
mission. Take Diana, the heroine of The
Sheik "
JANUARY 1922
THE- PICTUR&GOE-R
This is the picture which is Rudolph Valen-
tino's second great triumph. It is adapted from
a novel, written by an Englishwoman, a novel
sickly sweet in its sentimentality, hut which
has screened marvellously well. It tells the
story of Sheik Vhmed Ben Hassan, an Arab
ruler, whose will was law, and whose slightest
wish had always been gratified, It tells, too,
the itory of Diana Mayo, an English girl, who,
with the astounding self-sufficiencj oi the
modern girl, takes a forbidden journey into the
desert. There she is captured by the Sheik,
rescued by him from another would-be captor,
and oh shades of feminist crusaders! — 1
the hand that has chastised her. Magnificently
full of colour and incident, the picture marches
triumphantly from one desert scene to another,
with Valentino giving a perfect portrayal oi the
man, who, although master, has at length to
submit to the mastery of a power greater than
himself Love.
Thus it is that Rudolph Valentino has become
an authority on cave-men, and their success —
on the screen, that is.
He was non-committal as to cave-men in
real life.
My dogs and my horses." he said ; " they
arc my chiel interests away from the studio.
I have two prize-winning (heat Danes ; and
I ride every day in the week."
" And how came the films ? " I asked.
Necessity," said the Sheik, with a wry
smile of remembrance. " I went on the stage
for a while after my dancing seasons came to
an end, and the show ' bust ' out West, leaving
us, the poor players, stranded, as usual. I was
offered a part with Mae Murrav in The Delicious
I.itlh Devil, at Universal; it was a 'villain,'
but bread and butter tastes just as good after
villainy as after heroism ! 1 continued at
Universal, playing opposite Mae Murray again
in The />'/s Little Person, and in some of Carmel
Myers' pictures. Then I wandered from one
studio to another -with Tiara Kimball Young
in Eyes of Youth ; with
Eugene O'Brien in The
Another study
from " The
Four
Horsemen."
A studio portrait of Rudolph Valentino minus romantic
trappings.
Wonderful Chance (again 1 was a crook); with Dorothy
Phillips in Once to Every Woman, where 1 had the uncon-
genial task of firing at her from a box in a theatre I
was a dark-haired fortune-hunter in Out of Luck, with
Dorothy Gish ; and 1 was with May Allison in The < heater
It was in one of these minor parts that June Mathis, the
scenarist of The Four Horsemen, saw me, and decided
that 1 was the right type for ' Julio.' It was a big venture,
for if I had failed, I should have gone back irrevocably to
small parts,
Afterwards I played ' Armand ' to Madame Nazi-
mova's ' Camille,' another romantic costume part. Then
a change I was Alice Lake's hero in The Uncharted Sea.
Romance yes; but out-of-doors, present-day romance,
for we sailed on the track of hidden treasure into the Arctic
zone. I like that type of role ; it shows people that I am a
man's man, and not a parlour pet. My vcrv last picture,
Moran of the Lady Letty, is a sea-going story ; Dorothy
Dalton and 1 have just returned from 'Frisco, where we
have been making it
And now ? " 1 asked, rising to say good-bye.
Now ? A five-year starring contract with Famous-
Las ky."
So, like his famous countryman. Valentino has come,
seen and conquered even to the extent of obtaining
pardon for unpunctuality from an interviewer !
Alice Hall.
16
THE- PI CTU RE-GOE-R
JANUARY 1922
This is the **£'?»»
first of a new series
dealing with the leading
British picture theatres and
their audiences. Apart from their
personal interest, you will find in these
articles enthralling studies of the psychology
of picturegoers in different parts of the kingdom.
I^nr those who can throw back their memories along the
path ol kinema history, and recall the primitive
Ivitiemas that had the glare, discomfort, and tawdriness of
the penny gaff, the impressiveness of the Stoll Picture
House is a thing of wonder. Yet, although the great
Kingsway Theatre represents, with its almost pompous
spaciousness and artistic architecture, an advance in the
progress ol the kinema picture that grips the imagination,
it lias a still more subtle influence in this direction. Pass
through the great domed entrance hall, where artistically
( lad attendants in uniforms, reminiscent of the nobles ol
an Elinor Glynn republican court, glide restfully across
luxurious carpets. Enter the great auditorium, where
symmetrical tiers of boxes rear roofwards, and in the
half-light like dusk on n summer's evenings attendants
with torches Hit like discreet glow worms. Eorget the
wonders ot architecture, the strains of the great organ, and
the elicit cit carnival suggested by the coloured lanterns
that glitter from the roof, and turn from the materialistic
things that sway the senses to the human element
I lu re, in the half light, sit hundreds of the workers of
-■cat city, the pilgrims from Hie heights and plains of
suburbia, ami ihc hotels and boarding houses ol Kensington
ami 1 llooinsbiiiA
Their eyes are on the silver sheet ; their minds concen-
trated on the thread ol the story lli.it is unfolded before
them Ami these are eyes and minds that are tired by the
dull .-ml unromantic atmosphere amidst which so main
thousands by lone ol circumstance are compelled to pass
i Inn working days, But the faces that peer througli the
gloom, like a vast fresco of patterned white standing out
list the plush and pillars, are now animated and tense
wnli interest. The screen is radiating, for them, I he
revival of their imaginations, that have been
dulled by the strain of modern existence. The
vivid action, stirring adventure, panoramic
change of scene, pretty faces, and love ot the
most romantic order, is lilting them out of the
conventional rut of everyday happenings. The
Meeting impression of these happy hues are more
lasting than even the grandeur of the building
and its luxurious atmosphere. And lo I he
psyi hologist this human note spells the real
triumph of the palatial kinema. It is the jewel
that warrants the extravagant setting.
Now that the kinema theatre plays so large
a part in the lives of the multitude, it is only
natural that a form of human strata should have
sprung into being where film audiences are ion
cerned. Stolls have a distinctive- atmosphere
where ils visitors are involved. Certain " stars
can pack the house, and varying forms of films
have a similar effect. The Kingsway kinema is
the Mecca of Bill Hart and (dona Swanson
worshippers. When these "stars" scintillate
on the screen, the serried rows of seats are
packed to their utmost capacity. William
T'arnum can fill the house with women, and
Wally Reid brings a preponderance of short-
skirted, bobbed haired " flappers " to Kingsway.
Films founded on famous books always bring
record houses. They rival the popularity of the
stars." And week after week these tastes do
not vary. There one has an interesting side-
light on the new trend of kinema patronage.
Audiences are passing from the haphazard
" drop in tor half an hour " variety to permanent
patronage The kinema habit is becoming an
intrinsic part ol daily life.
They are an autocratic audience at Stolls.
If reissues are shown -even of the great Charlie
himself protesting letters are received. 'The
patrons regard the silver sheet in Kingsway as
the- reflector of the very latest in him productions
Stories that have been revived, after having been
temporarily laid on the shelf, are not welcomed
A novel innovation is the institution of the
Stoll Picture Club. This consists of members
drawn from the patrons themselves. They have periodical
social meetings when they can meet in the flesh many of
the " stars " that they have seen on the screen. Recently
Betty Balfour, Mary Dibley, Violet Hopson, Malvina
Longfellow, Mary Odette, G, K. Arthur, Milton Rosmer,
Gregory Scott, Lionelle Howard, and other "stars" met
the members of the Club at a friendly " At Home."
It is generally believed that it is the fair sex that are
the backbone of the kinema, that the woman patron is in
the majority, l'ut the casual visitor to the Stoll Opera
1 louse will have a rude shock. Tor the male sex always seem
lo be most evident even during the afternoon performances,
a period dedic ated b\ tradition to the amii.M-inent of women
folk. But when one observes the majority of black-coated,
Mill collared males that line the stalls, this vagary is lo
some extent apparent. Prom the hundreds of offices that
exist in the precincts of Stolls, men workers emigrate
to the pictures, straight from their desks.
Not so very long ago the Kingsway picture - house was
dedicated to opera. The golden voices ol famous singers
rang beneath the decorative roof, and the cream of Society
crowded to hear. To-day's programme contains just
one vocal item, but the personality of the players in the
silent drama, and the appeal to the senses ol scenic set
lings, hold the interest of the vast audience of over three
thousand.
The screen has brought to Kingsway a prosperity that,
in its days of opera, it never knew. Tor the populace "I
a great city have extended to the kinema the hand that
it withheld from opera. Stolls have symbolised the birth
ol a new regime.
( Inother pictitrt theatn miuL will appeal in next month's
issue.)
JANUARY 1922
THE- PICTURE-GOE-R
AND AFTER
Picturegoers have had no
reason to complain of the
film fare provided for their
delectation in 1921. The
year has been rich in super-
pictures, and if 1922
can uphold the 1921
standard, picturegoers
have a treat in store.
ineteen-Twenty-One expired in a blaze of
glory (and colour !) in the world of films
released. The first half of the year was rich
in screen-plays of more than common
worth ; the following few months very
blank ; but the last two atoned for these.
The bulk of the outstanding productions
came from America ; and it is remarkable
that, in nearly every case, the principal
leads in these films have since been
singly starred. The high lights of the industry — Pickford,
Fairbanks, Chaplin, F rederick, Talmadge, and Griffith— con-
tribute at least one each to the year's masterpieces. Nazi-
mova's name is, alas ! absent : for her 192 1 releases have
been far below the standard of her earlier pictures.
Earliest of the noteworthy screen-plays were Snows of
Destiny and Eyes of Youth. The first, a Swedish
Biograph production, was one of those " wild tales
to cheat thee of a sigh, and charm thee to a tear."
Despite its grim and tragic theme, there was so
much artistry about it — in the photography and
the lighting, in the grouping of the picturesque
figures of the story -all of whom were distinct types —
that the effect was not unlike an animated succession
of Rembrandt or Hals paintings. Mary Johnson,
by her unaffected portrayal of the heroine,
earned universal praise, and the supporting
players were excellent throughout.
Eyes of Youth, besides being a well-nigh
perfect example of photoplay art, gave us
Clara Kimball Young's finest work. It had
an unusually interesting story, easily followed,
despite its several interpolations, and it was
excellently acted and well photographed.
Gareth Hughes and Rudolf Valentino, small-
part players in this film, are now both stars.
Madame X, the film that most critics vote Pauline
Frederick's best, was sheer melodrama ; but the
acting made of it a tear-compelling classic. Founded
on a plav, the first reel or two was uninspired ; but —
despite the difficulty of successfully screening police-
court scenes — those in this picture, combined with the
work of Casson Ferguson and Pauline Frederick, remain
longest in the memory. The success of Madame X,
with its strong mother-interest, probably started the
craze for mother films in America. Certain it is that
it will always be quoted as Pauline Frederick's finest
interpretation. In the same month The Miracle Man
appeared — a film version of the play and novel by Frank L.
Packard. Its message, enthralling and vital, the fine acting
of the players and the skilful direction of George Loane
Tucker, made it a real super-feature. It is interesting to
noie, in this instance, that the screen proved its super-
iority over the stage. When Frank Packard's play was put
on "by George M. Cohan, it collapsed badly because the
spiritual note eluded the producer. Yet George Loane
Tucker caught and held it fast in the photoplay. The film
" made " Betty Compson, and enhanced Tom Meighan's
already strong reputation. Meighan's work in The
Admirable Crichlon (by Cecil De Mille, not Barrie)
elevated him to stardom. As entertainment, notwith-
standing its ludicrous caricature of British aristocracy, it
deserves mention.
->"
Douglas Fairbanks fts
" D'Artagnan " in " 1
Three Maskr!. ■
THE PICTUREGO&R
JANUARY 1922
Left Man
Carr in " Otnt
Below :
Chaplin and
C oog an i >i
The Kid."
The pageant
oflc)2l as por-
trayed by the
p r i n c i /' a !
pin vers in the
best of the
year's releases.
Right : John
Mi Item and
Mae Murray
in " On With
the Dance.''
Carnival, the most ambitious British
photoplay then made, presented some
stage favourites in their original parts.
An American director made it in
London and Venice ; and its spec-
tacular scenes and dramatic story,
added to the well-known popularity
of the play on which it was based,
gave it a tremendous public appeal.
The photography, too, was very fine.
Very close upon its heels followed The
Tavern Knight, a vivid, historical
romance, with a wonderfully faithful
reproduction of the battle of Wor-
cester.
An undeniably sordid Society story
did not detract from the value of
Fit/.maurice's On With the Dance as
an artistic and popular success. Spec-
tacular settings and symphonies in
lighting are this director's forte ; it is
his screen-play, although Mae Murray's
dancing and David Powell's acting
commended themselves to many.
1'ii/lvanna reached the public with
the May blossoms ; a slight story, a
one - character photoplay ; with Mary
Pickford in almost every scene, and
in one of the most artistic and con-
sistent of her many child roles. Mary
had been a long absentee from the
British screen, and her own winning
personality, and her powers of com-
pelling laughter and tears, found an
excellent medium in this optimistic
Kttlc tale.
V ording to the American public,
rfur, ■)' •iite was the greatest picture
of the year. British audiences loved
it, too, although its closing scenes did
not redeem the promise of the first
reel or two. True, its theme mother-
love — was great, and its acting, in the
case of Vera Gordon, exceptional.
Settings, too, were good : photography
perfect ; and yet if I made a
list in order of merit, Humoresque
would not occupy the top line.
This screen -play was the first of
the " mother " films to reach
this side.
Barring his " D'Artagnan,"
Douglas Fairbanks has never
appeared to such advantage
as he did in The Mark of
Zorro, a stirring
tale in a romantic
and delightful setting
which held the spec-
tators spell -bound.
Although abounding
I in stunts and duels,
it was no " stunt for
stunts'
Marv
Pickford
" Pollyan
Left : Richard
Lund and
Mary John-
son in ' Snows
of Destiny.'
Richard
Barthelmess
and Lillian
Gish i >i
" Way
Down
East."
of it heightened its appeal. Blind
Husbands proved the turning-point
of Kric Stroheim's career. A strong
drama, with the eternal triangle for its
theme, it dealt with a well-worn problem
in a new way. Stroheim's originality,
his daring innovations, in both photo-
graphy and methods of telling his story
(he both wrote and directed it), stamped
him a master at once, and opened up
new avenues in screen art.
John Barrymore dominated Dr. Jekyll
and Mr. Hyde. His work in the dual
role overshadowed that of producer,
photographer, and capable cast. It was
a tour-deforce , and his finest screenic
effort ; the film was a gruesome, though
absorbing one.
Even those who failed to appreciate
the humour of Mark Twain thoroughly
appreciated the humour ot A Con-
necticut Yankee at the Court of King
Arthur. Its snappy sub-titles, which
were not all taken directly from the
classic story, the wonderful panoramic
effects, clear photography and skilfully
burlesqued acting, made it a gem
amongst book adaptations, and one of
Fox's finest offerings. Harry Myers will
probably be known as " The Vankee "
for the rest of his life. The part was his
biggest chance, and he made the
most of it. Rosemary Theby, too,
shone as the vamp and villainess of
the piece. After the first shock, the
intentional anachronisms were a
source of great amusement, and the
pageant -like scenes at the end were
capitally done.
Cecil De Mille's Why Change Your
Wife ? with its sophisticated gor-
geousness, was a popular success :
for the characters, though abnormal,
were interesting, and the acting
first class. Thomas Meighan con-
tributed an excellent study of a
modern husband. Gloria
Swanson, as his wife,
put in her best work to
date ; and Bebe Daniels
was an alluring little
vamp. All three of these
players are now stars.
The first two have justi-
fied their promotion ;
Bebe has yet to prove
her worth.
In The Kid, Charles
Chaplin proved his
Stroheint and
Francelia
Dillington in
" Mind
Husbands." b(jt affordcfl excellent
acting chances in addition. It was
adapted by Eugene Mullin, who
made Bryant Washburn's Road to
London, and directed by Fred Niblo,
who is also responsible for The Three
Musketeers.
The Canadian master-film, Back to
God's Country, was an exceptionally fine
British production. It had a James Oliver
Curwood story, its scenic values were great,
and the direction and acting, and the novelty
Gloria
Swanson
in " The
Idmirablc Crichton."
L
JANUARY 1922
TH & PI CTU H2E-C
indisputable righl to the word gemus.
\n other word adequately expresses
the artistry that evolved those subtle
little touches of pathos which, alter
tiated with scenes of unforced comedy,
made the film a gem. Jackie Coogan,
to whom Charlie generously gave so
much of the limelight, contributed
greatly to the success of The Kid. A
born artiste, he, like Charlie, shines in
either comedy or pathos. Jackie is
starring by himself these days, and is
the youngest featured player extant.
The final couple of months of the
year brought Over the Hill, the sim-
plest yet most poignant, production
ever made bv Fox films. To British
eyes, the sentiment may appear over-
done and the agony somewhat
" piled on." Nevertheless, it was
beautifully acted, and the emotional
appeal was tremendous. Mary Carr,
the star, emerged from retirement
especially to create for the screen the
heroine 'of Will Carleton's appealing
}K»em. Her make-up, and her natural,
sincere acting atoned for any exag-
geration on the part of .the producer
and scenarist.
T/u Old Nest, which arrived before
Over the Hill, was more pretentious,
but less effective. Another Mary-
Mary Alden this time— was the making
of the film, although the cast was an
all-star one.
Charles Ray's
The Old Swimmin' ^vr^-.--t.
Hole presented a
photoplay without
a sub-title, and
Norma Talmadge
in The Passion
Flower delighted'
her public with a
glimpse of the old
Norma. Her pre-
vious screen-plays
had not been too
well suited to her.
Opinions are
divided as to the
artistic value of
Way Down East,
but it is still
filling one of the
largest theatres
in London, so
probably Griffith
is not ill pleased, fhe stor\ i-
dramatic but melodramas mal
movies. The ice scenes and < '■
old stand by, " Suspense," con
its strongest appeal. Lillian
and Dicky Bart richness do good
but the villain is too palpabh,
lainous to be convincing
Colour was introduced in Grii
Dream Street in many places ;
was also a short series m I'n
colour, a new process, which, v
giving glorious, deep-toned and V
shades, is not grateful to
the eyes because of much
" fringing " whenever
there is movement
on the screen.
One of the most
satisfying British
adaptations was
Ki pps , w h i c h
starred George K.
Kins Arthur. '
Vera Gordon
in " Humor -
esque."
John Pnrrymore as
film version of " Jekyll and Ifyd
• Arthur, a hitherto
unknown young-
ster. A human
story of a young
draper's assistant
and the way he
learned life's les-
sons, it will long
remain in the
memories of pic-
turegoers.
The Four Horse-
men of the Apo-
calypse really stars
Rex Ingram, the
director. Quite a
young man, he
earns his right to
be classed amongst,
the greatest by
this splendid kine
matisation of the
Vicente Ibanez novel. The earlier scenes,
especially, are magnificent, and the symbol
of the mystic horsemen in the sky is used
with great effect.
The blaze of colour referred to earlier.
The Glorious Adventure is the first all-
colour photoplay made and released this
side. The new colour process is all its
inventor claims it to be— thoroughly
'.eft : Harry Myers
as " The Yankee."
Above :G. K.Arthur
as " Kipps."
pleasing to wat< h.
"•^S^and without eye-
strain A story of
Old London in
Charles II. s day,
it has Lady Diana
Manners for its
star, besides a
bevy of Society,
stage, and film
favourites. It de-
serves its special
presentation, for it is a decided novelty
and parts of it are positively brilliant.
Also at the very tail-end of the year
came Little Lord Fauntlero) and The
Three Musketeers, which will, no doubt,
run well into 1922. Mrs. -Burnett's
classic has been reverently and beauti-
fully treated. The Pickford versatility,
charm, and tender appeal, whether
as the boy Cedric or his demure little
mother, is all-powerful. Camera work
direction, continuity, all are of the
best, and the double exposure is most
convincing.
Douglas Fairbanks' Three Musketeers-
is the realisation of that breezy star's
most- cherished pipe-dream; his heart
is in it, and it is his masterpiece. And
so the old year closed.
For the beginning of 1922 these
super-films are still showing, and rather
overshadow other releases. But there
are great things coming along. Thy
Soul Shall Bear Witness, a Swedish
wonder-play, is the first. Stronglv
religious in theme, the story grips-
with its intensity and sincerity. The
theme and power of its message and
the splendour of its acting outweighs
its tragedy. The first AU-Anstrali .1
film, The Sentimental Bloke, main 3
I CTU R. &GOE-R
JANUARY 192/.
.al story,
It was
. will be
1922. I
the in-i
>c.ik fairy
; sends us
n eighteen
1 has been
^100,000.
atmosphere
at her very
/ Soul, there
.lich Her Lord
Duchess are
absentee from
.lart successes.
too, including
Lila Lee sup-
'usion amongst
1922 the public
iade. Amongst
Betty Balfour
Shop, the most
■, a novelty film,
nusic lovers a few
, previously seen in
dso The Old Wives'
story of London life ;
, a charming film, with
. (stiffish, sometimes) sub-
a»e an all-star version of The
.ian Ctrl, \ .^d by Harley Knoles, whose Carnival
pleased so many
All Famous-Lasky-British productions will be seen, but
they are somewhat disappointing. Tom Meighan has
many releases, but few good stories.
Forbidden Fruit, Affairs of Anatol, and Forever
(Peter Ibbetson) are three Cecil De Mille pro-
ductions that should not be missed. There
is' a splendid batch of "snow-stuff
forthcoming, and many James
Oliver Curwood stories
Barrie, too, will be
The big scene in " The
Mitotic Man.''
seen on the screen again ; but Barne lovers will be better
advised to keep away, for unless The Little Minister proves
Otherwise", America cannot kinematise the Scottish genius.
Mary Pickford has flu I. on Light, which may, or may
not, please ; and Through the Back Door, which assuredly
will please, ready for n>22 ; and Douglas Fairbanks has
several offerings, the best of which is His Majesty the
America)!. William S. Hart, and Messrs. Mix, Jones,
Gibson, Carey and Co. remain in their groove. Pauline
Frederick's stories are not good ; and to date she has
nothing on hand to touch Madame X. Betty (ompson's
star features come late in the vear, along with some ex-
cellent Swedish dramas ; but thev will not be anv the less
enjoyable for that.
The big Fox production, The Queen of Sheba, will
probably be given a special presentation during the early
months of the year. It is a costly spectacle, featuring
Betty Blythe, and may help to make spectacular films the
fashion once again. In anv case, the public is doomed to
witness a large number of spectacular productions during
1922, so people who prefer strong stories in simple settings
will have much to endure.
Stroheim's million-dollar picture, Foolish Wives, should
reach the public this year ; although, if advance American
reports are to be believed, it will require some censoring
before it comes to our screens. Stroheim was employed
on his masterpiece for more than a vear, and the film has
aroused great expectations Judging Stroheim by past
performances, he is hardly likely to disappoint.
Whether any of the big German film spectacles will reach
British screens this year is problematical Whin shoddy
German goods are selling everywhere because they are
cheap, it seems strangely illogical to bar German films
because they are good. But the British screen is notoriously
behind the rest of the world ; so, perchance, it may be 1925
before we see any of the remarkable German productions
that have taken America by storm. One of these.
The Cabinet of Doctor Cahgari, breaks entirely
new ground, and deserves a showing on any
high-class screen.
There are so many films in this
country, without counting those
Germany would like us to see,
that there is no idea of the two-
feature programme being dis-
carded. J. L.
JANUARY 1922
THE- PI CTU RE-GOE-R
rheC
U1T
a.
i character
Alia,
5
L ucauiu
eJ Alia ISIazimova.
The star of a thousand modes reveals the serious side
of her character in this discourse upon Beauty. Her
own recipe for beauty is "Be constantly active in mind
and body for at least sixteen hours a day."
It is every woman's privilege to be beautiful; And it is every
woman's duty. But that duty is not confined to the looking-
glass or the appraisal of those who admire her merely for her " looks.'
Beauty is far more than skin deep, even though the sages have told us
otherwise.
Joseph Addison, the English essayist and poet, said : " It must be a
prospect pleasing to God himself to see his creation for ever beautifying in
liis eyes." But who shall say that Addison did not mean intellectual
beauty, moral beauty, the beauty of holiness, of character, of utility J
While, of course, the word beauty denotes primarily that which pleases
the eye or ear, it must also apply to that quality in any object or thought
which justifies admiration or approval.
And so, to be beautiful, let us see just what we can do.
For our facial and bodily beauty we must diligently practise self-denial
in our everyday life. We must eat carefully and intelligently, exercise
regularly and properly.
For our intellectual and moral beauty we must read the proper kind of
books, and mingle with thinkers and workers.
For the beauty of utility we always must have some useful and creative
occupation. Just as idleness breeds mischief and crime, so does worthy
occupation create its own beauty of usefulness and service.
For the beauty of our heart and soul we must hear good music, make
companions of animals and birds, and love and respect little children.
For myself, I find my greatest happiness (and what
beauty is greater than happiness ?) in being constantly
active in mind and body for at least sixteen hours of every
day. I arise at seven, and work until seven, and if I do
not have to work at night, I retire at nine o'clock, thereby
gaining two extra hours of absolute rest.
I try to crowd into every day a full measure of
hard work, plenty of good reading, some writing,
an hour or .two of music, outdoor exercise, the com-
panionship of worthy friends, and quite a little time
to my dogs and other pets. And when there are
children around I adore their, presence, and learn
many lessons from their tiny lips.
By this method of living and learning each day
as it comes, I realise that
beauty which is the greatest
of all — happiness.
Sir J . Davies, in his " Im-
mortality of the Soul,"
wrote: "Look into thy soul
and thou shalt beauties find,
like those which drown'd
Narcissus in the flood."
Beauty is with us — always,
ff we do not find beauty,
it is because we do not
seek for it, because we do
not do our duty to ourselves
and others."
If you would know all
beauty, let your motto be :
" Cry a little, laugh a little,
eat a little, sleep a little,
play a little, work much,
and love much."
V
THE PICTU RE-GO&P
JANUARY 1922
Untu l.i-i's, who supervise
Constance Talmadge's pictun .
i^ veryone on the floor ?
v No, there has been no " Keel
mutiny no bloodshed, though there
is i likelihood of it before we are
through !
It is an " interior " day in the film
studio, and it is the \oiee of the pro
ducer which levels the query at the
stage director. Heaven and the pro-
ducer alone know why the question is
asked, lor there couldn't be any other
answei thaii a satisfactory one If
the day should ever come when an
unfortunate " A.D. " lias to say NO
well, in '/> be " on the floor " lor a long
and uncomfortable spell !
Righto I The loving shepherd com
menees to lead his flock in the way he
would have them go, and for the sheep
there < an be no turning back, although
a few of the less inspired will probably
Down Ea.
1 here is a this-is-the
greatest thing-in-life " atmosphere
about the producer which imme-
diately permeates everyone within
the enchanted portals. And when he
starls to work he keeps working until
the light fades, lor the slogan of the
studio is " While there is light there is
work let there be light !
II any " advanced " soul ever con-
templates establishing a " Producers'
Union," let him be warned in time.
They will work ; they're made that
way '
Come with me and watch the pro-
ducer who is going to direct a " film
wedding." lie has conjured into the
lares of the leading man and woman
that radiant smile of happiness, that
adoiable air of timidity at the great
event which an audience expects to
see when they watch " the real thing."
I le is lullv aware, this amazing creature,
ih. n the leading
lady has a cold in
her nose, and can't
keep the powder
on; that t h e
bridegroom " is
i ommitting pro •
fessional bigamy but, on with the
scene I What matter that the " bride,"
in the cause of the pictures, may have
to go to her own funeral to-morrow !
To-day she is to be married — and
" sufficient for the day . . ."
The small and troublesome " pajjes
are sure to be more interested in the
camera " gadgets " than the altar ; at
the first rehearsal of the scene one of
them probably both— -will trip over
the " bride's " train and spoil the
atmosphere, but " A little more gently,
please ; try again " comes from the
man with the infinite patience. And
they try again.
Which recalls an occasion on which
I watched one of England's most
famous film producers directing a love
scene, in which the scenario called for
one of the subsidiary characters to beg
the heroine of the story to marry him.
Chester Franklin
directing Mary
Miles Mtnti r in
i d r a m i) t ! ,
scene.
JANUARY 1922
TME PICTUREGOE-I5
23
It-was a " big " scone for this small-part man, and lie was
obviously nervous and uncomfortable. He made a feeble
and uncomplimentary attempt to convince the heroine of
his love, but no nice heroine (and this one, who is a famous
star, was an extra nice heroine) could possibly have got tin-
least bit excited about this weak-as-water lover. The pro-
ducer sighed ; that desperate, eloquent, yet gentle sigh of
hopelessness which is all he dare betray if he is not to ruin
his very slight prospects of getting " blood from a stone."
" A little more earnestly, please-, Mr. X.," he cajoled.
" You are very much in love with this lady you are aching
to marry her -you can't live without her."
it seemed to me, a silent watcher behind the lens, that
this sort of eloquence must produce a better result. Well,
it did'; but it was a little " be.tter " than even the producer
expected !
The lover, now displaying a little more emotion, and
a little less stage - fright, pleaded with the lady
of his affections.
I love you, I love you ! " he
breathed, in that Gertrude 1'age
hero voice which would warm
a dead heart. " I cannot
live without you ! " The
emotion was bubbling
now, almost to boiling-
point. " I want you to
marry me — you must
marry me — please,
please, do marry me
— just this once ! "
Even the pro-
ducer forgave the
camera-man for
falling over the
tripod ! And the
leading lady con-
sented to marry
the man. — " just
this once ! "
And kindness
does not always
" pay," as is proved
in another instance
that came under my
notice. The producer
of a film in which there
was a rather important
child-role, engaged a small
child to play the part, whom
he had made the acquaintance of
some months previously. She lived
in the vicinity of the studios, ami this
producer, who, outside of the studios,
was just a dear, delightful human
being, had made a practice of pre-
senting her with a bag of delectable
toffees at frequent intervals. The babe duly arrived at the
studio to play her role,* and for several days she " worked "
well -always to the accompaniment of toffee, and fond
endearments from her special chum the producer. Then
came the day when she had to "die," and the heroine was
supposed to stand by the side of her cot, in silent, eloquent
grief. The child was in, usually docile, and " closed her peepers "
in exceptionally obliging fashion when her chum made the
request. Then, to enhance the "dead " effect, the producer
conceived the notion of having a light plank placed across
the infant, under the coverlet, to prevent any effect of her
breathing, whilst she was " dead." All went well at
rehearsals, and finally came the order to " Take '. "
The babe lay very still as the camera-crank recorded her
early demise, and the heroine stood, silently, sadly grieving
by the side of the cot. The scene was nearly played through,
when suddenly the plank did a somersault, the " dead "
child came to life with amazing suddenness, and a tiny
voice whimpered :
" Piece totiee, please ! S'over there
/. Stuart Blackton
William Crespinal,
used for filming " 2
Only a film producer could have smiled thai angelic,
forgiving smile, fetched tin- toffee from "' ovei theri
supplied the requirements of the infant and gone all
through the s< cur again '
And how he works, this regulator of the studio traflii !
He is "on the door " long before tfu artistes appear lor
he must see that that mighty army of workers, the stage
hands, have seised his need-, to the minutest detail. M
his fastidiously artistic senses will revolt at the angle of a
settee, or the nit oi ,i picture; perchance he considers that
the big fat arm-chair ' down stage" would In; " icon in
the picture and less m tin- way " if it were transferred to the
li.uk. One word from the master artist, and the a
quicklv and loyally obey his orders. The produce! is
everybody's friend. II he were not, he could never have
qualified for the designation.
Cajoling, coaxing, flattering, this shepherd of a tire
some fold will eventually lead his sheep to
the right pasture-land, but it is not an
uncommon thing for a producer
to spend the whole of a working
day directing one scene which,
in the finished version shown
on the sc veen. will probably
only take half a minute to
record !
The pathetic sort of
patience which seems
to he the produ< er's
stock-in-trade will
create for him, in
the heart of the
spectator, a colos-
sal svmpai hv. I >u1
it is a wasted emo-
tion. The master
mind would lose
half its mastery ;
the supreme being
would become nor-
mal and mun-
dane ; the man of
the moment would
have to take his pla< e
alongside the men of
the day, were it not
hat this sweet pain, this
citable game of patience
eluded in, nay, forms
n part of his appointed
But what matter that his very
life's blood be shed to gain achie\ ement ?
He displays no more emotion
man, t'ian thc> Sphinx when he finds
and the colour camera that an artiste has donned the
he Glorious Adventure." wrong frock, and that he must
hold up, perhaps, a dozen other
players while she rectifies the mistake, there is no ex-
asperation, no sign of impatience; he smiles instead, and
begs her, politely, to hurry,
If the lights go wrong he is there, with the mechanics,
wrestling with their .problem. If a novice appears in a
small part, he talks to that player in the confidential
tones (if a man who believes in humanity's capacity for
doing any old thing in the proper fashion and invariably
gels it done !
In the studio his word is law, he is infallible, and the
artistes must be convinced ol Ins infallibility. The star
who has ideas of her own as to how a certain scene should
be played will receive no mercy at the hands ol he who-
must-be-obeved. Some directors can be witheringly sar-
castic when the occasion demands, some do it all by kind-
ness, but they all succeed in. getting their own way in
the end.
He is a great, a mighty, a well - loved being, this
shepherd !
{Next Month : " Tin Lidding Lady.")
JANUARY 1922
charming studies of beautiful Juanita
Hansen — pronounce it Wa-nee-ta, please.
How very different the majority of film stars are in their
private, personal lives, from the manner in winch
thej are revealed on the screen. For instance, one funis
the majority of filmland vampires to be married ladies who
go home from the studio to a happy husband ; and two-
lliinls oi the supposedly ' temperamental ' stars in realitv
reside in neat bungalows and spend their leisure either
planting their garden or reading good books.
However, very few persons would ever suspect the
blonde, captious Juanita Hansen of writing poetry. Yet
she does. When you see Miss Hansen at the studio she is
all nerve, business and daring. But at home, however,
she is the sort of girl who revels in being comfortable —
wearing Chinese pyjamas, soft negligees, and easv clothes.
One thing relating to her is omnipresent. She' seems to
have a passion for perfume. Her garb, her hair, is redolent
of its fragrance. The atmosphere of
her room is heavy with incense.
With her extremely sensational
blonde coiffure, which she bmlds
high up on top of her head in a loose,
Unity mass, this girl with the Spanish-
Danish name is a direct antithesis of anything Oriental.
V< i everything about her is suggestive of Buddhist temples
and Brahmin haunts. She wears Chinese negligee and
slippers ; she reads Oriental poetry, she is fond of chop suey
and curry and rice. And she was one of the first American
H en to wear mandarin coats as opera wraps.
Her philosophy borders on the Oriental in its fatalism,
and m her diary there are numerous references to the fact
thai w hal is to be is.
I've built my life on this theme," she declared to me.
In the first place, I believe in being sufficiently individual
to live my own life, as 1 feel Destiny has mapped it out for
me. If I wish to do something, I do it.
" The books I mosi i hensh are those with a fatalistic
trend. I became, once, tremendously interested in
1 bism. Some friends and 1 used frequently to go to
a Buddhist shrine in the Japanese quarter of Los Angeles."
It has been said that idealism and practicability tradition-
ally .ire not handmaidens. Miss Hansen is, personally,
an idealisl Her diary often refers to the kind of man
sin could fall in love with ; her views on love and marriage
are extremelj mediaeval, for she has always rather imagined
herself as a Cinderella waiting for the advent of her Prince
( harming. But he, as yet, has not appeared.
()l course, I wanl to many," she explained, shocked
Very few people would suspect beautiful,
fluffy - headed Juanita Hansen of writ-
ing poetry. She does. Fewer still would
suspect her of being a fatalist. She is.
at my inference that perhaps she thought her career of too
great importance. " I'd love to be mistress of my own
home, to have a lot of children, to cook nice meals for my
husband. I can cook almost anything spoken of in three
languages."
But taking the place of her own children now are a
number of orphans in Los Angeles whom Juanita has
literally adopted. They call her Auntie, and she takes
them presents and entertains them.
" Several of my girl friends and I have a system whereby
we put money together into a ' pot,' " she added. " After
a certain time has elapsed we open it, and one of us is
elected to go shopping for the youngsters. Not long ago
I sold several unused gowns to a costumier. I thought
they were useless, but I was lucky and got money for 'em !
Well, 1 just put the money into our orhpans' pot."
Contrary to a great deal that has
been said and written, the Juanita
in Miss Hansen's name was not put
there because she is Spanish. The
Hansen, however, does signify that
she has Danish blood. Her first
name is pronounced Wa-nee-ta.
It is pretty and fanciful — precisely like Miss Hansen
herself. She is a rather gay person, who likes society,
theatres, dancing. Her one out-of-doors diversion is
horseback riding.
" I feel that I should like to go and go and go for days
and days," she sighed. " And then, all of a sudden —
perhaps when I get tired— something inside of me speaks
up and sends me home to my own flat, to shut myself up
and exclude myself from everybody for hours.
" My home is m\r own particular sanctuary. If I ever
feel discouraged or ' blue,' I go there and console myself
by writing in my diary or reading books that somebody
else has written.
" Once I took an aeroplane spin with the late Lieutenant
Ormcr Locklear. When we got 'wav up near the clouds,
the people on the earth began to look like dots, and I
couldn't help but think how very unimportant one little
dot would be to the millions of other dots. It taught me
not to worry.
Her moods are bizarre admixtures of the comic, the
sentimental and the introspective. One moment she is
telling a funny story, while the next, it seems, she is s tying
and thinking some whimsical thought.
" I'm terribly susceptible to the weather." she said.
JANUARY 1922
THE- PICTUREGO&R
25
" A damp, cold day depresses me horribly. Sunshine
seems to bring me out, and I feel wonderful! Several
times the camera-man has hail to re-take scenes made
on ,i rainy day because I got listless and let the action
drag."
In spite of the fact that she is a star, she is exactly the
same as she was when she went to a studio for the first
time when she took her own lunch and ate it after
working all the morning as a bathing-girl in a Sennett
comedy. .She continues to answer all of her own mail
personally.
On a recent vaudeville tour she was met at the railway
station of almost every city on her itinerary by the mayor
and city officials. There were banquets and dinners for
her nearly cver.y night after the theatre performance -
yet a friend writes me that she discovered Miss Hansen
one morning sitting on the floor of her hotel room ironing
a frail pair of silken pyjamas on the inverted bottom of
a bureau drawer !
" Acting is not all brilliance and pleasure," Juanita
declared. " There are a lot of disappointments and a
great deal of work. My ideal actress ? Elsie Ferguson.
What a brilliant success she is — and how many disappoint-
ments she has undergone to shape her career ! "
It was perhaps six years ago that Miss Hansen set
forth from home to take a chance at getting into the
movies. First she played " extra " and small parts at
the Sennett and old Griffith studios. Later she became
a leading woman in Triangle pictures. Universal then
starred her in The Sea Flower and other films, and shortly
afterwards she played a big role opposite Bert Lytell in
Lombardi, Ltd. Then came stardom in The Lost City, her
first serial, following which she was starred in The Phantom
Foe and The Yellow Arm. It was on completion of these
that she made her vaudeville tour of the United States.
Now that she is back in California, however, she is being
starred by the Warner Company in vigorous, out-of-doors
stories, ■written expresslv for her.
Juanita had her full share of excitement when playing »
in the wild animal serial, The Lost City. One scene showed
her in a pit surrounded by ferocious lions, her only means
of escape being to climb up a rope dropped by a low-flying
aeroplane. In other scenes she indulged in mixed
bathing with crocodiles, fought with a leopard, ami had to
pretend to be asleep whilst a bla-i k puma prowled about her
The aeroplane referred to above provided |uauila's
fellow -players with a good laugh. Whilst Juanita «a-
enacting n scene with a sn.ixc lion for a CO -tar, the aero
plane appeared overhead and commenced to loop th- loop.
Whereupon Juanita looked up and observed unblush n
" It must take an awful lot of courage to be an avi itor
An old joke, of course, but it says much for Juanita's n \e
that she was able to spring it whilst sojourning in the
lions' den.
When she was appearing in The Phantom Foi < I i
Warner Oland and Harry Semels, her co-stars made hci i h ■
victim of an elaborate practical joke. One day the sti
was visited by some spiritualists who wished to watch tin
filming of certain occult scenes, and after their departure
mysterious things began to happen.
"It was uncanny," relates Juanita. "Articles in un-
dressing-room suddenly disappeared, or wen whisked away
just as I was ready to grasp them. For instance, 1 would
reach out my hand to pick up a hair-brush, when the
article would leap from the dressing-table and fall to the
floor. I would be missing things one minute and finding
them again, unexpectedly, a few seconds later
" Finally, however, I discovered a deep-laid plot against
me. Threads had been fastened to the various articles on
my dressing-table and to gowns in my wardrobe, and thi
threads, manipulated through cracks in the wall and
ceding, accounted for the supernatural behaviour of the
articles in question. It was a great relief to me to find out
that I was not ' seeing things ' at my time of life.
"All my life," she concluded, " I've felt the call of the
Far East. When I've made enough money in pictures
I shall go to the Orient to live. I've already got so that
I can speak and understand quite a little of the Chinese
language.
" Even now when I see anything Oriental I can hardly
resist the temptation to carry it home with me but these
modern flats aren't large enough to harbour mo., tl
one incense burner and one Juanita at the same time
Ikiman H. ilwin.
Juanita is an idealist. She
is unmarried, of course.
Everything
about lie> suggests a
n ing "i the o> iental.
26
THE- PICTURE-GOE-R
JANUARY 1922
T^ileen Sedgwick, a member of a well-known stage family, started her screen
1 -* career as Eddie Polo's leading-lady. She has appeared in many serials, in-
cluding The Radium Mystery. Man and Beast, Dropped From (he Clouds, and The
Diamond Queen. She is 5 ft. 3 in. high, and has fair hair and dark-blue eyes.
JANUARY 1922
THE- PICTUREGOE-R
27
r^ eorge Cheseboro. a great favourite with serial " fans," specialises in films of the
vJ to-be-continued variety. He supported Ruth Roland in Hands Up, Juanita
Hansen in Lost City, Grace Darmond in The Hope Diamond, and Eileen Sedgwick
in Diamond Queen. He is a daring " stunt merchant," as well as a clever actor.
28
THE- PICTUREGOE-R
JANUARY 1922
A /Terry Max Linder returns to the screen this month in a sparkling comedy en-
***■ titled The Little Cafe. Since the war all his pictures have been made in
America, for the famous French comedian now resides at Beverly Hills, the fashion-
able Californian film colony. He has just finished a new comedy entitled Be My Wife.
JANUARY 1922
THE PICTUREGOE-Q
29
T^ollowing many famous footsteps along the road from gay to grave, Alice Lake
-*- turned her attention to drama after some years of comedy work, and promptly
proved herself to be a very fine emotional actress. Shore Acres, Should a Woman
Tell, and Body and Soul are some of her best-known films.
3<
TM& PI CTU RE-G OE-R
JANUARY 1922
:, ,„ . ........
-
1
Morence Vidor was born at Houston, Texas, in 1895. She has- appeared in many
screen successes, including New Wives for Old, The Honour of His House, The
Turn in the Road, Poor Relations, and Thomas lnce*s super-production, Hail the
Woman. She is married to King Vidor, the famous American producer.
JANUARY 1922
THE- PICTUR&GO&R
31
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ar
M
THE PICTUREGOER
JANUARY '922
AS OTHERS SEE THEM
Photo.
It is 111 .t hint; to a Los Angeles
typist or tradesman to line
up with Wallace Reid and
Charles Ray and wait twenty
minutes or halt an hour to see a
Wallace Reid or a Charlie Ray
film. The average star's view-
point is the healthy realisation
that his or her ticket money is no better than anyone else's
and that waiting in a queue is no worse for one person than
for another. Besides, a long queue is a pleasant sight to
the star whose picture is running, and well worth being
put to a little inconvenience lor ! As Houdini said recently,
when he was confronted with a "Standing Room Only"
placard at the theatre where one of his Paramount thrillers
was showing, "Can you think of a happier paradox than
being pushed out by a crowd that's come to see you ?
Of course, it is not only in the public picture theatres
that the stars can see themselves Their films are always
run through for official viewing in the studio projection
rooms. Hut a film shown on a miniature sheet in a tiny,
stuffy " business theatre, under the criticism of those
concerned in the making and selling, is a very different
thing from a film exhibited under the most artistii con-
ditions, to the accompaniment of a first-class orchestra,
and with all the effects that an ordinary audience enjoys.
It is not really until the film is viewed cheek- by jowl with
the man in the street " that a star tan judge of its success.
Much is gained, to.,, from the atmosphere oi an audience
the mood oi Hi, spectators, which a professional very
quit klv learns to sense as well as from the remarks which
an constantlj let fall. Main- of the stars go to see them-
selves again and again in the same film jusi in order to
get tins hank, first-hand criticism without the critics
kni iwlcdge '
Among the most regular picturegncrs in Los Angeles are
!'.'l>. Daniels, Gloria Swanson, lala Lee. Douglas MacLean,
Wouldn't you be surprised if, when you took your
place in the picture theatre queue, you found yourself
rubbing shoulders with the star whom you expected
to see on the screen ? In the picture above you see
Charles Ray, Raymond Hatton, Gloria Swanson,
and Wallace Reid lining up with the general public
to see themselves as others see them.
■ •
of An
Dorothy Dalton, Charles Kay.
Raymond Hatton. Wallace Reid,
and Betty Compson, There arc
some stars who do their picture-
going in disguise, and others
who make a habit of drifting in
late so that they will not be
noticed. The latter is Charlie Chaplin's favourite dodge
lie frequents his old films as conscientiously as his newest.
and generally contrives to sit in the (heap seats so as to
be among the class of people who readily voice their
opinions. Bryant Washburn is another collector of com-
ments He likes to chase his shadow from one theatre- to
.mother, making copious notes of the manner in which
that shadow is received.
When a friend of the writer came out of a Los Angeles
theatre recently in which a Wallace Reid film had been
showing, he saw the star in company with his wile and
four-year-old son " Did you enjoy the picture " - som'eone
was asking of Wallace Reid, Junior. " Aw. it wasn't bad.'
came the little fellow's reply; " but I wish they'd put on
Mutt and Jell " Which shows how much a star is honoured
by his own son I
There are some players who refuse to set- their screen
selves Louise I'a/enda hates her pictured person, and
llobart Bosworth declares it makes his nerves (eel "all
raw." He can't think why anyone wants to see such a
"dud actor" on the screen bunnilv enough, though,
Bosworth takes great pride in his stage experiences, and
likes to have his friends in the audience Dorothv Dish
has once or twice been kidnapped and literally dragged
to see one of her own films, but she has always escaped
before the end of the first reel Vet, like most other
players, she sees all the pictures in which her friends
appear. ( )n the whole, however, movie makers enjoy a
" busman's holiday " at the pictures, Doroihi Ow
JANUA.^f 1922
THE PICTUREGO&R
35
In the vear 1666, the good ship GoMe»J Swam was
returning from the Lndies with a motley crow
of adventurers. They were an ill-assorted assembly
criminals of high and low degree, most of whom ha.
been banished from England bj Cromwell, and were
now returning to enjoy the fruits oi their nefarious
practices in the easy reign of King Charles II
Among these were Walter Roderick, once a courtier,
fallen into evil ways; Stephanie Dangcrfield, a vim. I
and faseinating adventuress, who lor love o! Koderi. I<
had become his confederate in crime . Bulfinch, a
brutish creature, formerly a willing follower oi
Roderick but now surlv, and obeying Ins orders
reluctantly ; and Humpty, a halt-wit, whose strange
mentality gave him a shrewd sense of observation
And there was Hugh Argyle. a romantic soldier
of fortune, whose stors oi his early hie in England
had fired the imagination oi Stephanie with run
prospects for Roderick and herself Appealing to
his sentiment, Stephanie extracted from Argyle the
facts of his youth, while- Roderick listened
Argyle told of his having been summoned
England to claim the title and estate of hi
deceased uncle the Earl of Hillsdale; and. further,
of a boyhood romance with the little Lady Beatrice
Fair, daughter ol the Duke- and Duchess of Moreland.
His imagination had been roused by piratical yarns
told him by an old tanner, and as a youth he had
run awav to the Indies in search ol adventure. As
he related his narrative, \rg\le shewed Stephanie' and
Roderick the lockel given him at parting by the
little Lady Beatrice, and also the documents estab
lishing his claim i<> the Earldom of Hillsdale
That night, as the ship neared England, and glorious
moonlight daneed about the deck, a strange thing
happened, Argvle was standing at the deck-rail
ga/ing Innginglv towards the shoreline now in view,
when Bulfinch stole up behind him, stunned him
with a blow, tore the locket and documents from
his pocket, and threw Argvle overboard
" This locket and these papers wall establish my
identity as the new Karl of Hillsdale. ■' said Roderick
with malicious satisfaction, as the articles were handed
him bv Stephanie.
The' attack on Argvle meanwhile had aroused the
ship and the passeng'ers rushed on deck, screaming.
Roderick anxious to rid himself of Bulfinch, ordered
his arrest'. Bulfinch, aroused to fury at this, denount ed
hi:, accuser, but was dragged away and placed in 1 hains
WF^s \f
36
THE- PICTUR&GO&R
JANUARY 1922
The revels at (he royal palace were at their height when Lady Beatrice arrived.
The great Tapestry Room at Whitehall was never gayer than
on this night. King Charles II., the Merry Monarch,
watched the animated scene before him.
Nell Gwynne, once an orange girl at the Drury Lane Theatre,
now the leading actress at that historical playhouse, and a
favourite of the King, was unusually lively to-night. She
shook hei curls of reddish gold, and played all manner of pranks
on those about her.
Barbara Castlemaine, another favourite of the King, bitterly
jealous of Nell, assumed an imperious dignity unknown to the
actress, and flashed her eyes haughtily at the laughter that
greeted Nell's drolleries.
Charles sat on his throne, watching the scene intently. But
he was scarcely the Merry Monarch to-night. He yawned. He
was restless Beside him was his
unhappy and little-admired Queen,
Catherine of Jiraganza.
Leaving the throne with little
ceremony, Charles beckoned to the
Secretary of the Admiralty and his
confidant in many amorous adven-
tures, Samuel Pepys, and together
they went into an ante-room
" I am bored, Pepys," said his
Majesty. " I am tired of them all —
Nell. Barbara, and the rest of them.
The Queen is stupid."
Pepys' bright little eyes gleamed
with interest.
" Ah. Sire," said he ; " I have seen
the most beautiful young woman
in England a dream of loveliness,
your Majesty."
The King leaned forward, intent
on what Pepys was saying as the
Secretary of the Admiralty (a diarist
of the Court of Charles m sei ret) told
of the exquisite Lady Beatrice Fair,
whom he had seen at a garden party some weeks since.
So 11 came about that the King invited himself (by Royal
command) to visit the widowed Duchess of Moreland in order
that he might meet her daughter, the beautiful Lady Beatrice
Fail
Very different from the gay scene in Whitehall was the drama
enacted that same night in the Thieves' Kitchen, the rendezvous
of London's most notorious adventurers of this time Here
Roderick, Stephanie, and Humpty soon wended their way after
arriving in London. The pld crowd of crooks welcomed them
back, and immediately Roderick began planning schemes that
would bring him and his followers riches.
To the Thieves' Kitchen came Thomas Unwin, a lawyer, out-
vardly respectable, but secretly mingling with and directing
if these denizens of London's underworld
W iderick quickly unfolded his plan to Unwin, his colleague in
i imo. of »years before, showing the locket and documents that
wo Id establish his claim to the Earldom of Hillsdale.
CHARACTERS:
Lady Beatrice Fair -
Lady Diana Manners
King Charles II. -
- - - William Luff
Queen Catherine -
- - Rosalie Heath
Samuel Pepys - - -
- - Lennox Pawle
Thomas Unwin
Rudolph de Cordova
Stephanie Dangerfield
- Alice Crawford
Walter Roderick -
- Cecil Humphries
Hugh Argyle - -
Gerald Lawrence
Rosemary -
Flora le Breton
Bulfinch -----
Victor McLaglen
Nell Gwynne
The Hon Lois Sturt
Barbara Castlemaine -
Elizabeth Beerbohm
Adapted [by permission
) from the original film
drama by j. STUART blackton.
This would all work out well, Unwin informed Roderick, with
a sinister grin, for into his evil hands had fallen the management
of the affairs of the Duchess of Moreland and her daughter, the
Lady Beatrice Fair ; and both the title and estate of the late
Earl of Hillsdale and the meeting with the Lady Beatrice could
Im arranged — provided that Unwin shared equally with Roderick
in the riches.
But this was not to the liking of Stephanie, and her jealousy
was aroused.
Across the verdant carpet of grass on the splendid estate of
the Duchess of Moreland moved the ceaseless procession
of beautiful ladies and gallant courtiers' of the King's entourage.
The Royal fete was at its height. The King with the Queen
and his Court in all their gorgeous
array were being entertained by-
Royal command. The widowed
Duchess could ill -afford the vast
expense of such a fete, but she was
elated with pride at the honour
conferred upon her and her house,
and the King's will must be obeyed,
whatever the consequences.
The garden of the castle had been
converted into a bower of beauty.
There were dancers, games, acrobats,
tableaux, and all manner of amuse-
ments to please their Majesties.
As this pageant progressed and
the Duchess proudly enacted the
role of hostess, the Lady Beatrice,
whom the King was so eager to see,
stood at a window of the castle
waiting to be escorted into the
Royal presence
A beautiful vision she made,
girlishly peering through the window.
Her slender form was enveloped in
a draped gown of soft satin of exquisite colouring ; her head
was crowned with a mass of golden hair arranged in curls and
puffs; her wide blue eyes now smiled in interested gaiety or
looked in wonder at all she saw outside.
M\ Lady, the King pines .for a sight of you."
Lady Beatrice turned quickly to find the speaker none other
than Mr. Samuel Pepys. His small eyes smiled roguishly at
her The beautiful girl bowed low and accepted the arm of
the courtier
The King leaned forward in tense interest as Mr Pepys
approached the dais escorting the Lady Beatrice. What he
s.iw was a maiden of radiant beauty and yet a loveliness of
modesty.
The King did not trv to conceal his admiration As the fete
proceeded, his attentions to the Lad) Beatrice became in-
creasingl) flattering.
While the gaietj was at its height. Rosemary, the dainty
little companion of the Lady Beatrice, came to her
JANUARY 1922
THE PICTUREGO&R
37
" Oh, my lady," she exclaimed plaintively, " that horrid
Mr. I'nwin from London is here, and wishes to see you at once."
In an arbour, some distance away, I'nwin stood awaiting the
Lady 'Beatrice. With him was Walter Roderick, elegantly
attired and nervously pacing up and down.
" The plan will work perfectly." I'nwin was saying to Roderick.
" Your claim to the Earldom of Hillsdale has been established.
Hugh Argyle lies in his ocean grave, and henceforth you will
bear his name and control his estates. The Lady Beatrice shall
be your bride."
At this moment Lady Beatrice and Rosemary came into view,
and nt a sign from I'nwin, Roderick moved away and lost
himself in the crowd.
" My lady, I am honoured to see you," said the oily I'nwin
with a profound bow as the Lady Beatrice approached, adding
with a steely glance at her ; " but I have bad news. Your
creditors are pressing, and I apprehend grave difficulty."
A pained expression spread over the face of Lady Beatrice.
" Oh, Mr. Unwin ! " she exclaimed ; " what are we to do
And now this royal entertainment will bankrupt us. Why did
the King choose to honour us with this visit ?
Mr. I'nwin comforted her, offering to advance a personal loan
on the condition that she would come to London the week fol-
lowing the departure of the King, and reimburse him, as she
believed she could.
Lady Beatrice was greatly cheered and smiled luminously as
Unwin beckoned Roderick to approach
" My lady," began I'nwin ; " this noble gentleman has just
returned from the Indies. He was your childhood sweetheart,
and has never forgotten the little girl who gave him her locket."
Roderick advanced and bowed low.
" Don't you remember me, Lady Beatrice ? I am Hugh
Argyle."
His appearance was impressive ; his voice earnest, but as the
Lady Beatrice stared at him, she shook her head gently.
Unwin stole away, and Roderick pressed his suit upon the
unimpressed Lady Beatrice. But Roderick's interest was not
all monetary, for he had fallen in love with the beautiful girl at
first sight.
On the last night of the fete the King was more than
ever attentive to the Lady Beatrice. He caused Pepys
to send Nell Gywnne and Barbara Castlemaine away ;
and finally left the throne erected in the great hall of the
castle, and followed the Lady Beatrice
into a corridor. There he made love to
her, taking the unwilling girl into his arms.
The King was infatuated ; and,
object as she might, the Lady-
Beatrice dared not resist his Majesty
The White Swan Inn
lay midway between
London and the castle of
the Duchess of More-land.
Here Roderick and I'nwin
had tarried on their return
journey ; and the wine
proved so alluring to this
pleasure - loving adven-
turer, that he remained
after I'nwin had left.
One afternoon there ar-
rived at the inn a
handsome stranger,
about whom the
habitues of the place
observed a manner
of mystery. He took
a seat in a remote
part of the inn, and
kept himself well
covered with a wide
cloak and broad hat.
From the moment
of his entrance, the
stranger gazed in-
tently at Roderick,
now well under the
influence of the wine
he had been drinking
for two days, and
engaged in a flirta-
tion with Olivia, a
semi-gipsy type of
girl who had come
to the inn with other
friends of Roderick.
The sun was sink-
ing and a golden glow shed its radiance on the courtyard of the
inn when a coach drew up. and out of it stepped the I.ady
Beatrice and Rosemary. I hey paused before the inn door
hesitant to venture within
" Oh, Rosemary, how I dread this trip to London, and staving
at this inn overnight." Lad) Beatrice said nervously . " but 1
promised Mr I'nwin to meet him in London, and this I must do
Leclerc, keeper of the inn, opened the door and bowed low to
the "isitors. railing to his wife, Antoinette, to receive then fan
guests. Lad) Beatrice and Rosemar) then entered the inn.
and were astonished at th>- si<rht of the drinking patrons of the
tavern.
The mysterious stranger in his corner rosr and stared in
admiring curiosity at the Lady Beatrice, who was about to
ascend the stairway with Rosemary following Antoinette when
Roderick looked up and immediately recognised her. Rising
and reeling, with a cup of wine in his hand, Roderick made a
low bow to the Lady Beatrice, who shrank from him But
Roderick stood in her way. and in his drunken manner proposed
a toast to her. The Lady Beatrice drew herself up to her full
height, commanding him to stand aside. Roderick slunk back
to his seat, and the Lad) Beatrice passed up to her bedroom
This scene was watched intently by the mysterious stranger
The evening crept on, and presently Roderick sat alone in a
deserted part of the inn. while at a table near by Olivia and four
friends from the Thieves' Kitchen in London lingered cm over
their mugs of ale.
And in the corner behind the stairway the mysterious
stranger sat, watching Roderick with tense interest.
The hour grew late, Leclerc and Antoinette had
retired. Roderick stole over to the table
of his confederates and. whispered ; then crept
up the stairs, felt his way along the wall, and
paused at the door of Lady Beatrice's
room.
Rosemary was brushing the long
38
TN £r PICTUI2&GOE-R
JANUARY 1922
H tresses of Lady Beatrice's hair when they heard .1 sudden
and ominous turn of the door knob. Both girls starred vio-
lently, staring at tjn- door, which slowly opened to a width of a
few inches. Through this spaci thi wicked eyes of Roderick
could l>e seen. Rosemary rushed to the door and slammed it
in the man's face.
Roderick was slightly shocked by the sudden closing of the
door. A qui< k feeling of dread shot through him. He sensed
the presence ofsom( c behind him. Swinging around, his hands
still on the dooi knob, Roderick saw, standing under the dim
lighl in the upper hallway, the mysterious stranger
Horror showed in the eyes of Roderick, and he shrank hack
as' he recognised the intruder as none other than Hugh Argyle,
whom he had caused Bulfinch to throw overboard from the ship,
and whose title and estates he had assumed.
Roderick had no way of knowing that Argyle had been provi-
dentially rescued by fisher-
men, and believed this
figure to be a ghostly
apparition. Terror-strick-
en, he rushed past him
and down the stairs,
Vrgyle followed, and < on-
fronted Roderick at the
foot of the steps.
Staring .it him, Roder-
ick ci ept a bit closer, saw
that the man was human,
and drew lus sword.
Argyle was ready with
his rapier, taking his
po-ation ■ .11 the low land
ing of the staiis. Roderick
railed his hirelings to his
aid, and the five men
rushed upon Argyle. At
that moment Lady Bea-
trice and Rosemary ap-
peared at the top of the
stairs, and ga/.ed in mis
pense at (he combat.
Argyle attacked first
one of his opponents anil
then the other. It was a
battle of wits as much as
of swords, and one after
.mot her of his advei sai ies
was wounded or dis-
armed.
Finally Argyle and
Roderick stood facing
each other. the light
1 11 t ween them alone.
( 1 msi k (us 1 >f the power
of Ins opponent, (ringing
in cowardly fear, and
• till supers! 11 ious of the
1 eturn of 1 Ue man he
till believed to be dead.
I<> iderit k s< m m was out -
mati hod by Argyle.
Slinking along the wall,
he 1 ea< lied the do, ,r, and
'before Arg) le c< mid gel
to him, Rodei ii k had
lied mi to the darkness ol
the night.
1 ad) Beatrice, with
Rosemary at her side, hastened to con
gratulatc the victor. Argyle stood below Quickly Bulfinch ran
the stair landing ovei which she leaned, thoroughfares carrying
and listened delightedly to hei expression
■•f thanks.
• in the following morning. Lady Beatrice and Rosemary
resumed their journey to London town. Argyle rode on hois,'
back at the side o| their coach. Since ages gone by romance
lie! held its sway in this grey-old world, and one needed only
to gi.ii 'Ins dashing young man and this beautiful girl to
realise that love for each oilier had crept into their hearts, there
to re 1 ' •
Argyle bade adieu to the Lady
lutskirts of
mdon,
Vt the
Be.at.rii
F01 thi pri enl laid he,
I ' should you ever need me
Inn."
vi . Knight of th, Inn."
1 1 n ! - ■ ! ' 1 1 1 1 n 1 .
1 must remain nameless to you :
. send a white 1 1 ise t* • t he I •• iai 's
nun mured i he L.uh I !catri< e. as
An atmosphere of tension pervaded the Thieves Kitchen
The motley crowd of crooks crouched about on the Roor.
lounged in chairs, gambling and drinking.
Stephanie I )angertield, pacing the floor in a temper of jealous}
and anxiety, talked in outbursts to Unwin, who sat at a table.
gazing sneakily into vacancy, and only occasionally taking
notice of what Stephanie was saying.
Where is he. I ask you ? " she demanded. " Roderick has
not been near me these three weeks ! What is he doing ?
There is a woman ! Oh, don't deny it, I know !
I tell you 1 know nothing," snapped Unwin. " 1 last saw
him at the White Swan Inn on our way back from the royal
fete. He should have been here .it least two days ago."
Oh, if he should desert me after what I have been to him !
murmured Stephanie, with a dark suggestion.
Scarcely had she finished speaking when Roderick appeared
at the foot of the stairs.
His clothes were dis-
hevelled ; his face was
scratched, and there was
a wild look in his eyes.
Seeing Unwin, he hur-
ried to his side, agitated.
" I have ill news," he
said, in a husky voice.
" Argyle is alive. I have
seen him."
Stephanie si rutinised
Roderick closely and broke
out laughing.
" Yes," said Roderick,
weakly ; " Arg\ le is re-
sponsible for this." in-
die .it ing the condition of
his face and garments.
" He all but killed me.
And, hear me further,
the Lady Beatrice was
there, and they met !
Unwin was not affected
by Roderick's nervous
outburst. He slowly
drew from his .pocket a
letter. and glanced through
it with a malevolent grin.
" Have no fear, my
good friend Roderick,"
said Unwin. " The Lady
Beatrice is in London.
and has been so good as
to write me. She has
come to square accounts
with me. and I have her
Ladyship in the palm
of my hand As for
Argyle, if he be alive,
we shall selth with him
in due course."
St« phanie approached
Roderick and embraced
him, but Roderick pushed
her away.
" lie careful, Roderick!"
she warned.
Roderick reflected a
moment, shrugged his
shoulders, and suffered
her to kiss him.
Unwin sat at the table, quietl) schem-
ing. "Stephanie, my dear' he said in
his oily way . " you know 11 is our plan
to draw the Lady Beatrice still further
into our power. What say you to involving her in gambling
debts eh ? "
Unwin turned to Roderick who bowed his assent.
And lure, u,y dear Stephanie, is where you come in You
remember the young Lord Fitzroy, a conveniently dissolute
courtier. He is of her Ladyship's own social station You
shall ;'n with the- Lord Fitzroj to the Lady Beatrice, after you
have gained her confidence, and Suggest gambling as a means
oui of hei extremity The rest will be easj
And so it was arranged ih.it the little-suspecting L.ul\ Beatrice
was to be drawn tighth into the spider's web
I)adiant sunshine shed its glory m the room of Lad) Beatrice
J \ at her London home .i- she awoke and quii kU dressed on
the 1111,1 nine a ft 11 her ,irn\ al.
. h ' '<: , h ' ;>< ■ rowdt d
/us precious burdt n
ANUARY 1922
THE PICTUR&GOE-P
39
ConvprCiWcd
CarearS
When Elsie F. was seventeen, she starred
in "Such a Little Queen." I may be
wrong about her age, but as I have to
fill this page with rhyme, I'll let it go,
I guess. Her first play was a huge
success. Her second play, I under-
stand, was called " First Lady
of the Land " ; " The Out-
cast," next. I grieve to
tell the rest: don't fit
my rhymes so well.
Their titles are a
n. Eisk
"%p
trifle queer ; so
now we'll take her
film career.
From stage to screen
she made a leap, and
won success in Uarbarv Sheep. Then
having marie The Danget Mark, she
married Mr. Thomas Clark. (Sub rosa,
I must say that I'm obliged to Thomas
for that rhyme.)
Heart of the Wild she next essayed ;
then Hardy's Greenwood Tree was made.
Remarking, " This is quite the life," she
next made The Parisian Wife, which by
The Marriage Price was followed, so
eagerly her films were swallowed. The
public recognised her worth. Her next
films were Salt of the Earth, The Avalanche,
Eyes of the Soul (the second had a dual
role), Society Exile, Counterfeit (in which
she played a heartless cheat), and then
Witness for the Defence (in which she
really was immense), His House in Order.
Sacred and Profane Love (both were
simply grand), Pete Jbbetson, and Eoot-
lights — here endeth our Elsie's screen
career.
And now that list is off her chest, my
muse can go ahead with zest. Elsie is
very tall and fair, with deep blue eyes
and golden hair. Her favourite recrea-
tions : walking, reading in hammocks,
swimming, talking, riding (in summer).
wintry flays she likes to witness theatre
plays.
" When from the stage I made a change,"
says she ; " 1 found things rather strange.
In a stage play the acts, you see, are all in
order— one, two, three ; but on the film
things are reversed : you sometimes play
the last scene first.
One Sunday you, upon the screen, marry
i man you have not seen. Monday he begs
you, " Me my wife ! " You swear to love
"Tiim all your life. Tuesday his face first
time you see, and think "that is the man
foi me."
On Wednesday he pleads " Forgive '
And [ a better life will live" On
I hursday he will run away the i rime
forgiven Wednesday ! On Friday morning
you'll be found with all your happy children
cbuTorv
' hi Saturday youi Ixsau vvil! bring a
nice cngagemeni ring ' Embarrassing, I
ust admit. I Jut soon one gets quite used
to it.
Folks say the movies' chief
ippeal is that, they are so very
real. Hut when you gel
behind the Scenes and
-el <a h,it i^ nut shown
on screens, you
wake up from youi
pleasant dream to
find things are not
what they seem.
My first film gave me a surprise and
helped to open wide my eyes. Otic flay
my stern director said : "lis night
Before you go to bed, step out upon tin
balcony, the night's black loveliness tu>
see. Look at the view, express delight at
seeing such ,i perfect night that Nature's
beauteous form doth veil Fling out your
arms, the air inhale, crying : ' How pure
beyond compare, this smokeless, crystal
evening air ! ' "
Mine not to reason why. 1 did the
things that the producer bid. " Oh. night
of nights," quoth I, " thy form doth take
my simple heart by storm. No words of
mine could e'er express my wonder at
thy loveliness ! " (The " night of nights,"
I may remark, was made of canvas painted
dark, splashed here and there with silver
bars to represent the twinkling stars).
1 cried : " Oh, twinkling stars out there ;
I've often wondered what you were.
And now 1 know "
" Enough ! Enough ! Get on with
your deep-breathing stuff ! " cried the
producer at this juncture, and like a tyre
that's had a puncture, 1 breathed out air
and breathed it in. " Oh, air," I cried ;
" how black is sin compared with thy sweet
purity ! Blow, lovely wind ; oh, blow on
me ! " And, then, behind the scenes, a
man set off a large electric fan !
Last year she took a holiday and travelled
round the world half-way. From 'Frisco down
to Yokohama, and found a lot of scenes to
charm her. She sailed across the Inland Sea
to get a glimpse of Kiobe. From thence she
hurried off to China, and thought the temples
there much finer than those on Japanes-y
lines After, she toured the Philippines, and
took a trip to Singapore, and travelled by
tlif Suez shore the European sights to see.
She finished up in gay Farce. When she re-
turned to old New York the interviewers made
her talk. Of wondrous sights she d seen a host.
They asked What views impressed you
most ? " And Elsie answered : Le1 rue
sec . . The gowns I saw in ga\ Pai
40
THE- PICTUREGO&R
JANUARY 1922
Doug, will bt
100 old i •''
stunts.
Twenty years hence Mary
Miles Mmtcr will be too
old for inghiue roles :
Wallace Reid will be " the
perfect lover " no longer.
Pwenty years ago, what was the Motion Picture ?
1 Nothing. A peep-show ! A penn'orth ! A thing
of fair-grounds, a cast-off cousin of the penny gaff. It
was a " curiosity " hiding in back streets and shops that
could not be " let." The " palaces " were barns, the
laughter of the doubters was very loud. The " best
people " did not discuss it.
That was twenty years ago, the Motion Picture's yester-
day. To-day, the palaces are, and the best people are first
upon the step. It is a very excellent, a very satisfactory
to-day.
But what of to-morrow ?
Where will the Motion Picture be in twenty years from
now ? What will the " movie nights " be like in i<^2 ?
Here is my answer. Like all predictions, it may be
wrong. But I think it is right.
Twenty years hence ! The
programme that we know
to-day will be as dead as
Marley " in the first chapter
of '" The Carol." The pro-
gramme of two and sometimes three — " feattires,"
helped by a " comic " and a " topical." will be only a
memory not even that to the younger folk. The present
^\strm is developing a tendency to split ; it has arrived at
the parting of the ways — and it will take both.
In other words, to-morrow will see two distinct kinds of
picture palace in existence. There will be the Picture
Theatre and the Picture Magazine.
A year or two ago one was as likely to see the film version
of " (July a Lancashire Lassie : or, Why She Left Home,"
in a West End " palace " as in Oldham ; as likely to see a
filmed Ibsen m a hack-street kincma in the Black Country
as in Regent Street. To-day, things are " evening out."
The situation has been roughly as if a classic and a novelette
were thrust before the eyes of a bewildered reader.
Novelettes are excellent in their place; so are classics,
lint together they do not mix. For years the kinema has
been trying to mix them. To-day it is being realised that
ihere has been a mistake made. To-morrow the mistake
will lie remedied. To-day a poor and " thin " story is
dragged out to five reels because that i» the custom ; and a
story that is a i lassie, a photoplay that should " live," is
hacked down to five reels for the same reason the reason
is dving
Tom Mix
will be la/ and Hft\
What will movie nights be like in 1942 ? Nobody
knows, of course, but here is a prophetic article
written by an earnest student of the kinema who
prefers to remain anonymous for obvious reasons.
Pictures like Blind
Husbands. Madame X,
Earth-bound, and similar
subjects that are now-
going the rounds of the
" palaces," are not things that
can be handled adequately in
five reels. At least eight reels are
necessary, even by the stand ards of
to-day. By the standards ol to-morrow.
ten will be nearer the mark, fen reels !
Two hours and a half ! One picture,
one entertainment ! The best pictures will grow. I pre-
dict that they will find their level in twenty years or less,
and that the level will be from ten to twelve reels.
Similarly, the smaller picture,
the usual " feature " film of
to-day, will shrink. Its limit
will be three reels ; it may shrink
to two. but I think it will remain
always at three. This will be
the popular film, the film made only to amuse, to pass
away an idle evening ; it will be the " food " of the
masses. But. . . .
And here is a development that few people see to-day ;
here is a particular in which the Motion Picture has
definitely taken the wrong turning. . . .
The " small " picture, the " food " of the masses, the
film for an idle evening, will be shown in the biggest theatres.
To-day, the bigger th? picture th? bigger the theatre.
Broken Blossoms had its first showing at the Alhambra :
The Mark of Zoryo, at the Palace; Way Down East, at the
Empire. When first-rank pictures begin to tour, they
settle first in the largest halls or theatres in the largest
towns. The inference seems to be that when eventually
the photoplav produces its Shakespeare, his pictures will
only be shown in some monster place several sizes larger
than Olympia. Which, again, is silly.
There are main- and obvious disadvantages in presenta-
tion in a large theatre. The greatest is. perhaps, the fact
that the picture on the screen is too big. This may sound
to you too simple a thing to stress. As a matter of fact,
great faults, like great virtues, are invariably simple. The
picture in the big theatre is too big. And also, owing to
the number of times it niiist be enlarged, it is too fuzzy
JANUARY
1922 T
1 sa\ ili.ii
.i v. i ten <>i ,i 1 pom i \\ el\ t leel l >v
i,iic u ill be
univi rsallv adopl erl us ideal for
I ho pci fe'< t
piel in e 1 Ins means a <inctll
//'/. till . illlfl
ii meiiiis also high pnees, So
thai 1>\ the
lime the in morrow ol Movieland
in here hi
i w fin v \ ears w e sh;i 11 see t he
best pit tun
- in ilif liesl smallest) theatres
Er PICTUR&GOE-R
41
or ' palates.
It will be the
t href, reels), of
" I low To's."
at the lies' prices; and the less-important
pictures at the big theatres al smaller prices.
I'he picture prices a1 the large theatres have
now a tendem y to rise This is te niporary.
They will fall within ten years. The\ will
become as cheap as the cheapest now
It is the big theatre of to-morrow the
hall, to seal from two to four thousand
people thai I have called the Picture
Magazine. Jt is my own word, or use ol u .
It may be that the places will be called
magazines, instead of " halls
Certainly it is. appropriate
place of short stories (limit,
topicals and " comics " ant
It will be the place of the hotch potch enter
lainnient a magazine moving.
In the bit; theatre, too and in the bij
theatre only you w
" continuous perfo
higher grade and sin
this will die withii
from now Audienc
in their seats at the
of the title, and wh
picture is ended the
will be ended.
The big technic,
improvement th;
must come swiftly
will be the
tear " film,
inflammable
are here:
something
have to In-
to ensure
when a film tlies,
it shall be at least
as complete as
when it was born.
I saw the other day
in a good class pro
vincial picture thea
tre a photoplay
atlaptetl from
famous novel ; a
photoplay that had
been boomed as
coming for at least
a couple of months before
the showing. It hail cost
anything near ten thousand
pounds to produce, and it had been
produced perfect. In the book ami in
the stage version there was a " big
moment " that had captured the popular
imagination. The " big moment " was as
famous as the play itself. When the pro-
duction ran in London it was this "big
moment " that filled the posters and all the.
advertising matter. But in the film it so
happened that this big moment was very
near to the end of a reel ; and in transit the
end of the reel had been torn and — cut off
by some over-neat and idiotic operator. The
opening movement of the big scene was
there, then cut, darkness, and on to another
iucidcot that did not properly follow after.
L'his particular reel is going around England
ni \. causing annoyance in town after town
simply because it is possible lot operators
ol advanced disintelligence to play aboul
prettily with scissors. Inside twenty years
the " non-tear " film will be with us, and
nothing short of a charge ol dynamite or
the producer himself will be able to alter
the product once ii is finished
In twenty years England will pre
dominate m the best theatres, but America
will still hold the held in the Magazine
theatres I infer this from the facts that
the American level is very high, but not
advancing, and that the " big " American
pictures are not vastly superior to the
usual American " features " ; and that,
whereas the usual British " fea-
ture " is a poor thing, the " big
British film is not only really big,
but gives every si.^n of very
shortly developing into some
llnnj; really great.
But Britain's predominance,
or the predominance of any
nation in the worltl of the Motion
non
Non
films
but
will
done
that
Picture, will be at most a passing thing.
America has been supreme for a decade.
It has given us speed, and very nearly
perfected technique. Britain will give
dignity and character ; but then it, too,
must hand over the reins. The kings of
the Motion Picture of the future will be
not nations, but men. There is one man
only at present pointing the right way.
That man is Eric Stroheim, who wrote,
starred in, antl produced Blind Husbands
The Stroheims will be the monarchs of
the screen, but that they will hold the
I oil /*..';'> OO.
THE PICTU15&GO&R
JANUARY 1972
/^\
/Ae
e
Jeanii fllacPht > son
the famous s< i k«j ii
..I iter.
'I'll.- old idea ol a
1 scenario thai hai I
produc tn hi possibilities
was one that involved
the maximum amount' ol action. To
receive the approval of ;i producer, a
story had to have physical action, and
[Went v <>l it .
Ili.it idea had its origin in the fad
tli.it motion pictures first attracted
attention because they were literally
pictures that moved." The mech-
anical miracle was the screen's first
claim to glory.
Naturally, the makers of motion pic-
tures ol that day made the most ol
that fact. Pictures were designed to
show the mechanical possibilities of the
camera and projecting machine rather
than the dramatic and artistic possi-
bilities.
W i- i an all remember motion pictures
ol that era. It was the day of the
chase, the racing locomotive, the leap
from the cliff, and all the rest of the
melodramatic clap-trap that attended
i In- debul of the motion picture.
\^ the mechanical feature became
gradually subordinated and drama
crepl into motion pictures, this idea of
action persisted. Not only were the
public and the producer used to this
kind of thing, but the public that sup
poited the motion picture of that clay
demanded just that sort of story. The
In the following article, the second of a series
specially contributed to " The Picturegoer," Jeanie
MacPherson discourses on pictures past and present,
and shows that a scenario-writer must keep
abreast of film fashions.
motion picture at that stage was A.
a. worthy successor to the penny *&**■
dreadful and the cheap melodrama
of the speaking stage.
Ideas thai did not involve violent
action held no merit at this point in
the photoplay's development. A story
that did not reek of melodrama was
foredoomed to failure.
Hut even at that early date there
were men of vision who believed that
this type of story would give place to
something liner, saner, and more ar-
tistic as tune went on. These men
were in the minority, but they per-
sisted. They experimented with stories
ol different calibre.
And thus was developed the modern
photoplay. To-day the scenario is a
direct opposite of the scenario of
yesterday. How to photograph thought
has been mastered In- the technicians
of the screen, and the scenarioof to-day
must convey thought, or it will never
find favour with producer or public.
In other words, the present day
scenario must have first, last, and
always a theme. There, in one word,
is the sum total of the basic element
of scenario-writing success. Gel an
idea first of all. Never mind the action
I ■*..
Cecil B. Ik- Mille and Jeanie
Pherson examining dress
material and designs.
qualities of your story. Develop your,
idea in action, but, tirst of all, have an
idea to develop.
I realise that a certain percentage
of the public will point out that pic-
tures are still being made in which
action is the mam essential. There are
still serials, and there are still five-reel
photoplays in which thrills and melo-
drama are the principal ingredients.
Hut these pictures are partly sur-
vivals oi the past, which are gradually
passing, and partly efforts on the
part of a minority of the producers
to maintain the old order, because it
is easier to produce action pictures
than thought pictures.
It is only necessary to check over
the notable successes of the past year
or two to prove that the day of the
action picture has passed. It is im-
possible to name a notable artistic and
financial success that has not depended
primarily upon its theme for all the
other elements of its success.
The scenario-writer who would hope
to succeed must recognise this fact,
and write accordingly. He or she must
have something to say. It is not
enough to develop a highly complicated
plot replete with thrills. These things
are not barred from photoplay pro
cluclion entirely. Hut they .ire only
permissible when they tend to put over
an idea when they are a means to an
end that involves thought. And the
complicated plot is never comparable
with the simple plot that has the
advantage of clarity and directness in
presenting its message.
,.-•.'■ J utie l/i Pherson v*itl a
-. itu • ■../ i " Pi ... - •
ANUARY 1922
THE- PICTUP&GOE-R
43
Jhe 4)<2PJiSfenf
Doug and Mary got the honeymoon habit soon
after their wedding in 1920. After honeymooning
in America, they honeymooned in Europe, and
now they are at it again. Life, as they see it, is
just one honeymoon after another ; and, honestly,
can you blame them ?
Wardour Street all things are
possible. You may decide to take
a meal at one of its --eiiii-
Eohemian restaurants, or your
steps may lead you into the big
church there. You may be
tempted to purchase curiosities
at one of the little second-hand
shops farther along, or Paris
models at one of the many
modistes scattered up and down
the street. No matter if the
day be wet and windy, you
have only to step inside one of
the great film Renting Houses to be
transported at will to the tropics. There,
in office or projecting theatre, behind those business-like
looking exteriors, the most romantic and exciting events
happen- sometimes only in celluloid, sometimes in reality.
This is one of the realities.
Once, in the scurry dusk of a winter's afternoon, I found
part of the Street of Films so packed with people that even
the police could scarcely clear a path. All sorts and con-
ditions of people they were, all gazing upward towards a
small, brilliantly lit window on high.
Is it Royalty ? " 1 enquired of the biggest policeman,
who was keeping some children out of the road with ex-
tended arms. " Something like it, miss," was the reply.
"' It's Mary and Doug."
just then the window opened, and a lithe, black-haired
figure leaped upon the three-inch sill and balanced itself
there on one leg whilst a girlish voice cried, " Oh, Douglas,
be careful ! " Together they stood in that small square
of light, Mary and Doug, that persistent pair of honey-
mooners, throwing pink and red roses, and smiling at the
enthusiastic cheers that greeted them. I watched the
upturned adoring faces with the rain beating upon them.
" Stolid, undemonstrative Britishers," who neither felt the
cold, nor heeded the wet. " There you are, then ! " they
sho ited.
We're here all right." Douglas seemed rather puzzled.
Al an earnest and persevering interviewer, my duty was
clearly to be there too. And duty looked pleasant to me.
The word " Picturegoer " is a talisman that overcomes
every barrier. A very few moments later I stood on the
inside of that brilliantly lit window on high. And the
thrill that comes but once in a lifetime was mine as I
responded to Douglas Fairbanks' greeting, and looked into
Mary Pickford's sweet eyes. I had to look down— a long
way down — she's no bigger than a fully-grown fairy,
smaller far than she looks on the screen. Douglas, on the
contrary, is bigger. About 5 ft. 11, 1 should say, very black
of hair, very brown and merry of eye, with a smile that's
as good as a tonic, and the perfect poise that comes from
perfect physical condition. There's a great deal of
spontaneous humour about Douglas — he says the breeziest
things in the quietest way. Impossible to say whether
he's serious or teasing.
And Mary, best known and best beloved little lady in
all the world, how can I describe her ?
One sees Mary Pickford on the screen, with her curls
and her childish sweetness. One reads about her, the
smallest and greatest actress in filmland to-day. A
successful producer, a business genius, acknowledged by
the best authorities as knowing every angle of the movie
game. One who has known work and worry, sorrow
and poverty., too, ever since she was five. A millionairess,
not once, but many times over,' and by her own erlorts,
solely. And then one sees her in the fiesh — and marvels.
Such a wee bit of a thing to have done all that ! Slender,
almost transparently tiny, a lovely wistful face, with a
still lovelier expression, a tiny hand that is lost in one's
own. Eyes that are sometimes blue and sometimes a
misty grey, always soft and compelling. A simple, half
shy, wholly winsome manner ; exactly the kind of voice
one imagines Mary Pickford would have - gentle and
girlish, with little or no accent.
The ample office was continually being invaded bv all
sorts of people on all sorts of errands. Yet, somehow
between whiles, we managed to (hat.
" We've been to Rome ' Mary began.
Where we did as the Romans do." Douglas finishe I
the sentence for her.
"We only arrived in London last night from I' ri
We wefe talking until midnight, and then the Count'
Sutherland 'phoned and asked us to go to some plai e
44
THE- PI CTU REGOE-R
JANUARY 1922
From kiddies in general to Mary Pickford, junior, was a natural transition.
Mary adores her little niece. I'm certain that she loves all children.
" We usually have quite a few of them at home in California every Sunday,
when Douglas and I are not working," she told me. " We go swimming
together. Little Mary can swim, and sometimes I watch them. I learn
quite a lot from them, though if I copied them exactly, I'm sure I should be
accused of over-acting. Little Mary loves fairy tales. She has my secretary
read them to her, and then she comes and tells them to me. And the longer
the words are the better she likes them.
" She's in Little Lord Fauntleroy with me. She was in The Nut, one of
Doug's films, too. It was one day when I wasn't working, we went to watch
him. She had on a little white coat ; you can distinguish her if you look out
for her." Then added, by way of after-thought, " I am in it, too ! "
She was so simply attired, this famous little lady : the frills and jewels one
might expect of such a brilliant star conspicuously absent. She wore an
unassuming little navy frock, and a hat that shaded her eyes and hid almost
all her sunny hair.
She had bought lots of frocks in Paris, she said. And told me
how once, when she had just finished Romance of the Redwoods,
and had only a fortnight before she was due to commence The
Little American, she made a flying trip to New York with her
mother ; spent four days at her dressmaker's there, and was back
again with the fascinating array of dainty
frocks she wore in that production in time to
be the first on the lot that morning. She
designs many of the charming kiddie-frocks
she wears.
" ' Fauntleroy,' " she declared, " is one of
my most difficult parts. There are lots of little
details of difference between a boy and a girl.
And I got ' Cedric's ' swagger from watching
Where was it, Douglas ? And we
were there till three. To-day we've
been looking at studios : for we
mean to work this side — in
London, if possible."
" What will you do ? " I en-
quired.
" We haven't decided yet ;
an English story, I hope."
" Not Ben Hur." Douglas
vv;is very positive about it.
And then I lost him. He had
gone to' receive a deputation,
mainly men, who got him
into a corner and hid him
from view.
I shall surely re-film
Tessibel of the Storm Coun-
try," Mary affirmed, with a smile.
" Tess " is a favourite with
her, as it is with most people,
even to-day, when faults in
photography, technique, and
scenario are plainly visible. Yet
the story and her acting rings
true still. I think she likes Stella
Maris, too. I asked her about
her child roles, and how she worked
them out.
" It's easy to play some of the pretty
ones," she replied. " But the ugly duck-
lings, like ' Unity ' in Stella Maris, and
' Amanda ' in Suds, appeal to me the
most. We all love the attractive kiddies ;
but if I can get the public to love and
sympathise with the others, I feel that
I've really accomplished something.
" I usually try to get into the spirit of
the child I am supposed to be. It comes
with the clothes, somehow. I never want
l.' walk when I'm dressed as a kiddie
olv ri\-s run or skip
Cedric '
some-
Douglas as ' D'Artagnan
" What made you play both
and ' Dearest ' ? I think that is
thing we'd all like to know."
" Well," Mary's screen self peeped from her
mischievous eyes. " It wasn't because I wanted
to be the only star. And it wasn't because I
wanted to save money. No. But I had an idea
that women would like me to play ' Cedric,' and
men would like me better as ' Dearest ' ; and I
thought I'd like to please everybody, so I
played both."
very rosy, stammering damsel
with a great sheaf of roses,
us, out there.'
" We're — we're
Douglas
D'Artagnan
And then a
presented her
" They're from
the window,
you," and fled.
" I think that's
Marv, and went to
She pointed to
so glad to see
wonderful
the window
of them," said
and spoke her
ANUARY 1922
THE- Pi CTU RE-GOE-R
45
thanks, and threw a rose or two. But there was a scramble.
" I won't throw any more." Mary drew back. " There
are children there, and they might get hurt." There were
children there, numbers of them. One, quite a midget on
someone's shoulder, held its arms out to her. I liked the way
her own instinctively went out in response.
When we turned, two photographers wanted Mary and
Douglas to pose for flashlight photos, which they obligingly
■did, with Mrs. Pickford ; all holding tea-cups. After the first
flash, it was discovered that Douglas had substituted an ink-
well for his tea-cup, so they had to do it again. Then a fresh
crowd arrived and wanted signed pictures. I watched Mary
and Douglas receive them all with such unfailing courtesy
and charm. Douglas signs his name with a dashing " D'Artag-
nan " flourish. Mary puckers her bud of a mouth over hers
much as we've seen her do on the screen so many times.
" Don't you suffer from writer's cramp? " someone inquired.
" Oh, no," Mary laughed. " You see, I. don't sign the
cheques. Douglas does that ; he's the head of this family.
" Do you think Mary looks English ? " Mrs. Pickford
asked me. "Her father was born in London, you know."
Mrs. Pickford is small, too, though not so
small as Mary, who resembles her greatly.
" I think she looks just a little like an Irish
girl," I replied.
" My folks are Irish." Mrs. Pickford told
me much that was interesting about " Miss
Mary," as they call Mary Pickford in the
studios. " She was always a kind, sweet,
happy little girl," she said. " Good, too.
Mary has never been ' spanked ' in all
her life. She mothered Lottie and Jack,
and me, too. I'm her baby still.
" They all started acting when they
were very young, and when Mary
wasn't acting she was scrubbing Jack,
who was just as untidy as she was
neat and dainty. She was five when
she had her first part, as the child in
' Bootle's Baby.' I don't
know whether my am-
bitions for her or the
others would have led that
way, but necessity forced
my hand.
" Many of the habitues
of the old Princess' Theatre
in Toronto remember Mary
to-day. She was successful,
because she worked so hard ;
and her crowning triumph was
when David Belasco engaged
her for ' The Warrens of Vir-
ginia ' in New York.
Their private bathing lake.
\
" Real fame came to
Mary through Motion
Pictures. No names
of players were given
in the days when she
played for Biograph."
This we know ; also
how Mary's charm
and personality rose
above that anony-
mity. Then came
her stage triumph in
" A Good Little
Devil," and the star-
ring contract that fol-
lowed the filming of it.
Caprice, In the Bis-
hop's Carriage, Tess,
Hearts Adrift, Such a
7 Little Queen, Rags, Fan-
chon the Cricket, Mistress
Nell, Poor Little Peppina,
The Foundling, Madame But-
terfly, Pride of the Clan, Less
Than the Dust, A Poor Little Rich
Girl, Stella Maris, Hulda From
Holland (not a favourite of Mary's,
this one), A Little Princess, Dawn of a
To-morrow, The Little American, Romance
of the Redwoods, Rebecca of Sunnybrook
Farm, Amarilly of Clothes-line Alley, An
Old-Fashioned Girl, M'liss, How Could You,
Jean ? Captain Kidd, Junior, and Johanna-
Enlists — all these belong to Mary's Famous-
Lasky- Arte raft days. I believe I have
included them all. " Then," Mrs. Pickford
went on, " Mary, in 1918, opened up her
own studios with me as her business
manager, and commenced carrying out her
own ideas of picture-making.
" Daddy Long-Legs was her first. Others
were The 'Hoodlum (we knew it as The
Ragamuffin), Heart o' the Hills, Suds, Polly-
anna, The Love Light, Through the Back
Door, and Little Lord Fauntleroy."
I wish I had space for some of the in-
teresting anecdotes I heard about the
making of some of these films.
Presently Douglas Fairbanks joined is
louglas is every bit as good-natured he
46
THE- PICJUREGOtR
JANUARY 1922
looks . tnil it is not easy to get him talking about himself,
lie cul bark " to his box-hood. at length, with " I <lo not
come of "a theatrical family. No; my father was a lawyer.
Hut he was friends with Booth and Mansfield, and the
whole bunch. They used to come and stay at Denver,
Hearing them talk, made me want to act, too. I was a
puny little kid. 1 wanted to be tall had a hunch that 1
should be fat if I didn't exercise. So 1 tried every kind of
athletics, known and unknown. They used to catch me
out on the front step imitating the errand bovs' stunts.
The parents thought I VI make a tine engineer Sent me
tii Colorado, where they tried to teach me calculus and
higher mathematics. I've hated 'em ever since. I was
on the stage, yes, on Broadway, too, in ' Clothes,' ' Haw-
thorne of the U.S.A.,' 'Officer 666,' and ' He Comes Up
Smiling.'
My first picture — The Lamb. It was mainly fights
and fisticuffs. No ; not slapstick, ever. I received a
i lack eye or some little thing like that in every scene but
the las{, and then I had my way. Was the other fellow
hurt ? I'll say so. It was his first film, too.
In the old days at Denver, Dad was
strict and sent us to bed early. There was
a tailor's shop opposite, and some nights
he used to work late, and we saw his light.
So I determined to be a tailor when I was
a man, and stay up late. I thought of
that the first time we worked .ill night.''
Two years after he made his first movie,
Douglas had formed his own company.
His smile had spread across two ion
tinents. Some of his successes arc Wild
and Woolly*, His Piclun In the Papers,
American Aristocracy, Mr. Fixit, A Modern
Mary and Doug at breakfast.
at work must
there '
When our dav's work
swim Don't we, Mary -
own theatre at ' Pickfair
He's very serious, Charlie.
)e a thrilling game. No chance to be la/.v
is done," he said finally, " we
Or see films. We have our
Sometimes Charlie drops in.
He and Mary get arguing and
reasoning for hours, until I have to separate them."
" Don't you believe it. He's just teasing."
Mary's smile was radiant as she shook a finger at her
big husband. No need to ask if they are happy, these
two ; their faces when they look at. or speak of one another,
are sufficient voucher.
They commenced an anecdote about Griffith in his
earlv days.
" He used to sell the ' Encyclopedia Britannica ' at one
time,' Mary said.
I never knew," I interrupted, " that he was ever a
book agent."
" Book agent ! " This from Doug. " Say, that's not
a book : it's a freight commodity. Anyway, he took a
long drive out to Burgoyne County to sell one to a farmer.
\
1 If ll P
H
Musketeer, Say ! Young Fellow, Arizona, Down to Earth,
The Knickerbocker Buckaroo, and his latest The Mark of
/•■ii". Ike Xiti, When the Clouds Roll By, His Majesty The
American, and /Vic Three Musketeers.
'My favourite role." lie looked at Mary, but said:
D'Artagnan.' I've dreamed of making The Three
Musketeers for a good many years."
i mentioned the word "stunt."
"Say. What is a stunt r1 Douglas tried to look
vapid, but grinned and gave up the idea.
lie knows all the cowboy tricks of riding and roping,
and as for jumping, swimming, and shooting, he's pretty
well all there on everj count.
He recalled one occasion when speech-making from a
high platform in New York. He spied a friend in a passing
automobile, took a living lea;, ovei the heads of the
spectators into the roadway, and held up the car.
Taking it one v{&\ and another, life on (he set when he is
Also took some fine steaks, knowing that
neat was a rarity in those parts But. driving
through a dark wood, a panther smelled those
steaks, and dropped from a tree into the seat
beside Griffith. He dropped out of the buggv.
But he managed to head it oft, and he made
his sale at the finish."
Here another consignment of roses arrived for
Mary. From the staff of Allied Artists this time,
in whose offices we were. And Mary l>egan signing photos
for distribution to them all.
It was quite late when they finally left the building.
We're oft to Sweden almost immediately," Mary told
me, last thing.
"On our honeymoon," chimed in Doug. "We may
go on to Germany afterwards, like we did last time. But
we'll be back here again in March."
The crowd surged around the car, and followed it to
the end of Wardour Street, and in five minutes all the
excitement was over, and the street was its usual self.
I followed in the wake of a few of those patient ones.
He said it was their honeymoon," remarked one. " But
he said that last year." " Silly ! " The reply came with
decision from a boy with a rose in his cap " It will
always be honeymoon for Mary and Doug when they're
together. Everybody knows that."
And he was perfectly right
; >sit •' , •
JANUARY 1922
£ PiCTURtGOE-R
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THE- PICTUR&GO&R
JANUARY 1922
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PHE snow-white linen gently swaying
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Efficient and economical by reason of the purity of
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JANUARY '92?
THE- PICTURECO&R
January, 1022, opens most aus-
piciously with what will probably
be the best film of the year
most certainly the best him of the
mouth. This is Thy Soul Shall Hear
Witness, adapted from a story by
Selma Lagerlof, the Nobel Prize
winner, and produced by the Swedish
Biograph Company. These Scan-
dinavian film players have been respon-
sible for many successes, but Thy
Soul Shall Bear Witness reaches a
pitch of perfection seldom, alas ! seen
on the screen. The only point to which
exception may be taken is the sub-
titling, which is heavy and pretentious ;
but the artistry of the lighting and
photography, the grip of the story and
the splendid characterisation more
than atone for this defect. The plot
of • Thy Soul Shall Hear Witness
concerns simple folk, and though full
of the ironic tragedy of life, its human
appeal cannot fail to conquer all who
see it. Its hero, David Holm, comes'
out of prison, determined to make
good, only to find that his wife has left
him. Revenge now animates his soul,
and when, later, he is united to his
wife through the efforts of Edith
l.arsson, a woman who has dedicated
her ideals to the saving of such men
as he, David pursues a course of
remorseless cruelty, and sinks lower
and lower into crime. On New Year's
Eve he is left for dead in a church-
yard brawl, and according to the old
Scandinavian superstition, his soul is
collected by a dead man who has
been doomed to drive the cart of
Death through the year. It would be
unfair to divulge the dramatic climax.
Victor Seastrom, who also directed
the picture, plays the part of David
with a wealth of genius ; Hilda
Borgstrom is the wife ; and Astrid
Holm is Edith.
'"I"' he adventure and romance thai
J. seem a logical part of the life
of the Canadian North-West Mounted
Police in fiction, at least, if not in
fact — are present in good measure in
The Challenge of the Law. William
Russell is the star of this picture, and
gives us a good all-round portrayal of
Sergeant Bruce Cavanagh, whose grim
devotion to duty is brightened bv
his affection for Madeline, a girl
whom he rescues from her smuggler-
father. Helen Ferguson plays Made-
line with great charm ; she is a fea-
tured player at the Metro studio
these davs, and well deserves her
success, for her work dates back to
old Essanav davs when she played
with H. H Walthall
An Ethel Clayton picture is always
an attraction. This star is
usually unaffected, sweet and sincere ;
moreover, she is charming to look at,
and knows her work thoroughly well.
Picturegoers will be sorrv to hear that
her Famous-Lasky contract having
ended, Ethel Clayton is meditating
going back to the stage ; but, of
course, a large number of her films
are yet to be shown on this sale
The City Sparrow, her picture of the
month, shows her as a cabaret dancer
who falls in love with a country
farmer. The storv is simple and full
of pathos, but there are some coined)
touches by Walter Hiers, who acts
the part oi the rejected and heart-
broken lover with much gusto. Walter
complains thai he is constantly being
refused by fair ladies on tin- s< recti
and that he holds the record in dis-
appointed affection.
HPhomas Meighan ought t<> be
1 familiar with tin- duties of a
butler. He " buttled " in Tht
Admirablt Crichton, and he does so
again 111 his January release. Civilian
Clothes. This picture tells tin jtorj
of a type of romance common enough
during the war for Thomas, in the
role of Captain Sam McGinnis, marries
a girl who, aftei tin- tension of that
stirring tunc is over, becomes secretly
ashamed of her handsome though
somewhat uncouth husband. Captain
Sam thereupon develops into wile
tamer, anothei role which Thomas
Meighan cssa\^ most satisfactorily on
the screen.
Since the filming of Civiliai <
this popular actor has been
promoted to stardom in a vi ■.. fine
series of photoplays which Tom For-
man (not long ago a well-loved
player, too) has directed. And the
latest news reports that George Ade.
in whose play, " the College Widow,"
Tommie Meighan acted in England,
has been signed by Paramount 1o
write Meighan scenarios. So then is
a good time in store for the many
admirers of this clever and capable
50
TH& PI CTU R EG OE-R
JANUARY 1922
^ tea***
IN order to select
the is stories t«.r
the fanuar; " PAN,"
wi actually declined
; ,.: ; pii ked manu-
scripts.
M\ N v of the
t, 1 1, -. declined
\m re written by t irn
ous authors, but a
writer needs to have
more than a great
reputation to have .i
sti ii \ accepted for
• PAN."
P\N " has only
I" ili< j to
eleel the best 15
Stories of the month
for it-- readers. It
does not seek to
attract you 1>\ great
nami s it prefers to
win you as a regular
reader by consistent
merit.
/^IVE PAN" a
VJ trial. Buy the
fanuary Ntimber to-
day.
Over £130
in Prizes
for helping to
edit "PAN."
PAN " is offering
its readers the
following prizes tins
month for the hi -.t
criticism of the worst
story.
First Prize £100
Second Prize £ 1 0
20 Prizes of £1 each
SO 6/- Novell.
IF you are a judge
of fiction, here is
your chance. Buy a
copj ot " PAN "
to-day.
THE FICTION MAGAZINE
Proprieti >i - .
I idhams Pi ess, Ltd.
L >ng A< re, W.C. -z.
Mr. and Mrs. Charles Kay outside their home at Beverley Hills, California.
actor, who, by (he way, has just
been making a film called // You
Believe It, It's So, a title that ought
to appeal to picturegoers who are
also admirers of Professor Coue !
In Desert Love, we have the typical
Western picture, and admirers of
Tom Mix will be more than satisfied
with their idol's prowess in this film.
The story is really composed of two
episodes, one dealing with the youth,
the other with the manhood of the
hero. There is plenty of action, and
the production is marked by an
amount of artistic effort which is
seldom found in the average Western
drama. The cast of Desert Love is
noteworthy, for it includes Francelia
Billington (whose delightful work in
Blind Husbands is still remembered),
Eva Novak, and Fester Cuneo, who
is a well-known cowboy star.
Galsworthy's play, The Skin Game,
had a long and successful run
upon the London stage, and this month
sees the release of its film version.
The clever dialogue that held audiences
enthralled is missing from the picture,
which sutlers badly in this respect.
Otherwise, it is well produced and
presents an interesting angle of modern
conditions. It shows the difference
between the old rich and the new
rich, and ;dsd the lengths to which
men will go in order to attain their
ends, even though, as in this case,
the helpless suffet is .1 result. The
original London casl ot The Skin
Game appear in the film, and verj
well, too, do they handle their parts
Their names are all familiar to theatre-
goers Edmund Gwenn, Dawson Mil-
ward, Helen Have and Meggie Al
banesi.
I^he honours amongst British films
of the month go to Squibs and
The Right to Live. Both are -stories
of " plain people," told with that
simplicity and unsophisticated charm
which is one of the most pleasing
characteristics of the best British
productions. Betty Balfour is the
heroine of Squibs, and gives an inter-
pretation of a London flower girl
which will make her audience tremble
between laughter and tears. A child
entertainer upon the London stage
Betty Balfour has developed from a
clever imitator into an equally clever
creator ; she has no qualms about
sacrificing her prettiness for the sake
of characterisation. I- red Groves is
the policeman hero and a heart-
breaker at that.
AE. Coleby, who produced Tht
. Open Road, is responsible for
The Right to Live. Here again the
simple joys of the poor is the theme
around which the story is woven, and
quite pleasant is the result. The
incidents depicted concern a family of
East End fishmongers, and there arc-
three fine racing scenes.
The future of the British screen
looks all the brighter for the
arrival of Fay Compton in the shadow
world She is one of out most attrac-
tive actresses, and, unlike the majority
of " speaking " stars, she films ex-
tremely well. This month she appears
in I I'd:;, Vo/, > Woman of No Im-
portance, and Tht Old Wives' I ''It ■
all three pictures are great. The
fust does not give her much oppor-
tunity of displaying her talent, but
Ercd Groves, who is also in three of
the month's releases, has a fine part.
JANUARY 1922
THE PICTUR&GOE-R
fates of an old diver, an .i< I venturer
and his female accomplice, and a
sunken treasure ship. Good, sound
melodrama, it is marvellously re-
produced, the diving and submarine
scenes, as well as the sea-fog episode,
being particularly fine. Grace l>ar
niond, whom we also see in one or
two other of the months pictures,
and whose serial, The Hope Diamond,
lias just completed its final episodes,
makes a very fascinating " vamp."
'"Phe first of the films made by the
1 British-Famous-Players at then-
London studio is something of a
disappointment. Picturegoers had
been hoping that this much-hailed
combination of American methods and
British talent would have resulted in
screen masterpieces. Instead, the first
arrival from Islington, Thi Great
Day, is a very ordinary melodrama.
The scenes in the big steel oiks ire
interesting, and there arc some thrilling
moments in a Pans Apache den, 1 he
cast includes Arthur Bourchier (to
whom the screen is not a sympathetic
medium), Bertram Burleigh, Meggit
Albanesi, and Marjorie Hume (one oi
the most pleasing of our British
actresses).
I^he Dorothy Dalton picture. A
Romantic Idventuress, is rather
a disappointment, although admirers
of this versatile star are always glad
to see their favourite on the screen.
In this film she is a dancing girl, not
the mining saloon variety of her early
caret r, but the daughter of an old
dancing professor in New Orleans.
This latter character is played with
wonderful feeling by Howard Lang,
who, in justification to the sterner
sex, ought to be starred in a " father "
film. There are some beautiful settings,
and Dorothy Dalton dances well. The
film was directed by Harley K'noles,
of Carnival fame, who is again in
England making I In Bohemian Girl.
Dorothy Dalton has just lately been
Tom Terriss, the well-known British screen player and producer directing a street scene in
America. Terriss is posing a child before the camera. Lionel Barrymore stands at his elbow.
The second, typical of its author,
Oscar Wilde, provides both Fay
Compton and Milton Kosmer with
many highly emotional scenes, to
which they do full justice. The story
is the old one of a deserted girl and
a boy who becomes the enemy of his
unknown father. Directed by Deni-
son ('lift, it is full of artistry and
dramatic value.
T^he third is adapted from Arnold
J. Bennett's book, and is also
directed by Denison (lift. It is of
all-round excellence, and the cast is
especially interesting. Florence Turner,
whom British picturegoers frankly
adored, has come back to the screen
over here as one of the sisters, while
Karsavina, the Russian dancer, adds
her fascination to the production.
Denison ('lift — British, but with
much American experience — is doing
much to raise the standard of
technique on this side. He will soon
film Mary Queen of Scots, with Fay
Compton, who bears a striking resem-
blance to the tragic queen, in the
title-role.
Another good British film is Pillars
of S<h iety, adapted from an
Ibsen story. It is satirical and tragic,
but a good many people will appre
date its power. Ellen Terry has a
small part in it, and, needless to say,
givs a finished performance.
Having played in so many stories of
the sea, Hobart Bosworth must
have developed almost an amphibian
personality. Killing sharks, and es-
caping from the tentacles of the
octopus, are merely incidents in his
life, and only a month or two ago
he fought a shark in fifteen feet of
water for one of his films, The Cup
of Life. True, the shark was har-
nessed with wires, but no one knew
its capacity for escape. This month
we see Hobart Bosworth in Below the
Surface, which is concerned with the
"Thy Soul
Shall Bear
Witness!"
•"pHE General FiJm Renting Co.
* will release this wonderful
Swedish Biograph film this month.
Simultaneously, Odhams Press will
publish a translation of the book by
Dr. Selma Lagerlof, from which the
film was made.
Before you see the film, you should
-ertainly read < 'ie book, and so
double your enjoyment. Dr. Lager-
lof writes in a style which, even on
the printed page, pictures eerie
events in a startlingly vivid manner-
The book is illustrated with photo-
graphs of the principal characters
and events from the film an attrac-
tive feature.
In brief, the story tells of the
strange redemption of a drunkard
from a life of misery and crime.
During an orgy on New Year's Eve,
he is knocked down and becomes
unconscious. He hears the wheels
of the Deati.-cart approaching.
The driver, an old-time acquaint-
ance, throws him into the Death-
cart and continues his awesome
journey. The drunkard, by devious
means, sees the folly of his ways
and the sadness he causes others,
and eventually shows that, con-
trary to the terrible things he has
done when in the grip of drink, he
is a good man at heart.
Buy this wonderful book as soon
as you can. Obtainable from all
booksellers.
"Thy Soul Shall
Bear Witness!'
Translated i><>»/ th sh oj
I )r. Selma Lagerlof.
PRICE 2|- Net-t.
ODHAMS PRESS. LTD.,
89, Long Ac.r, London, W.C. 2.
52
TME PICTURE-GO&R
JANUARY 1922
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III IlillllllilllllllllllllllllllllllMlllllllllllte
Herbert Hayes, Claire
Windsor, and Frank Mayo
co-starred with Rudolph Valentino in
Moran of the Lady Letty, and their
company have been experiencing an
adventurous time off San Francisco,
making sea scenes.
Charles Ray is always sure of a
welcome in one of his hobblede-
hoy types. In Homer Comes Home he
is the village failure, but full of lovable,
boyish traits and with a sweetheart
as young and ingenuous as himself.
The latter part is played by Priscilla
Bonner, who has since appeared
opposite Tom Moore in Mr. Barms of
New York, and opposite Tom Gallery
in The Son of Walling ford. Homer
Comes Home is full of real, true-to-
life humour, and with its clever side-
lights on human nature, which is the
same the world over, it will add to the
already long list of Charles Ray's
triumphs.
There is not enough dignity in his
old name of " Buck,'' so Mr.
Jones, of cowboy fame, asserts, lb-
has therefore been re-christened
" Charles," but it will be a long time
before picturegoers forgel " Buck
Jones. This month he is starred in
Sunset Sprague, a Western that is
full of " punch,'' well-staged fights,
lassoing and beautiful backgrounds —
everything, in fact, that will please
lovers of action,
I^wo well-known plays are screened
this month The Thief, starring
Pearl White, and Passers-By, featuring
Herbert Rawlinson. The former was
played at the St. James's Theatre.
London, in the good old days of Sir
George Alexander ; it is a society
drama concerned with the efforts of
a young wife to keep her husband's
love, In order to appeal always
beautiful, she steals tha she may
buy expensive clothes, and Pearl
White gives a very vivid and emo-
tional presentation of the role. Need-
less to sav, she looks very lovely in
the exquisite gowns she wears. Wallace
McCutcheon plays villain to his wife's
enjoying an al fresco
lunch between scenes.
heroine. Stuart Blackton, the man
at the helm in Lady Diana Manners'
film of old London, The Glorious
Adventure, directed Passers-By, and
his son takes the part of the hero's
small boy. Blackton is British, but
in spite of every care, he has not
been able to achieve quite the right
English atmosphere. However, it is
a picturesque and entertaining pro-
duction, with Rawlinson as a hand-
some and appealing hero.
Although January sees the advent
of some new stars, we still have
the old, well-loved ones with us.
Tom Moore appears in Duds, a story
with crook and amateur detective
interest, and reminiscent of " Bulldog
Drummond," for Tom is a demobbed
officer seeking a job that offers ex< de-
ment. Needless to say, he gets it,
and • provides his audience with
entertainment in his turn. Madge
Kennedy is in Dollars and Sense, a
picture of great charm, with this
vivai ious little favourite as natural
and attractive as ever. For some
time past, Madge Kennedy has been
on the stage in Cornered, and she
has talked of turning this into a
film.
' I "he Stoll Company release this
1 month ,i fine Franco-American
film, called The Empire of Diamonds.
This is frankly a melodrama, but it
has to commend il excellent acting,
one or two cleverly managed " stunts,''
and some very beautiful scenic settings,
the latter ranging from London and
New York to Paris and Monte Carlo.
Lucy Fox, the heroine, has since been
starred, as have so main- of the
players who appear in the year's
new crop of releases
Alice Joyce, another old favourite,
has rather a weak picture this
month, entitled I h, Prey ; it has
rather a wearisome plot, but Alice
Joyce, of course, is graceful and
charming. In real life she is Mrs.
Regan, and has the sweetest of babv
JANUARY .1922
THE- PlCTUREGOE-f?
53
daughters a stai of the future, may-
be. Louise Glaum also has man}
admirers who will like her in Vhe
Lone Wolf's Daughter. This, a Louis
Vance story, is a sequel to The Lone
Wolf and False Fact -, and in it
Louise has a dual role, the Princess
Sortia and her daughter. Though
improbable, the film is full oi exciti
ment and mystery. Corinne Griffith
is another player with a dual role; in
.1 Broadway Bubble, she is herself
and her twin sister, and kisses herself
in a remark ble bit of double photo-
graphy.
Mary Odette has two releases—
Inheritance and Cherry Ripe-.
Both are rather artificial productions,
although the great glory of the British
film and lovely exteriors is present to the
full in each. Mary Odette is always
natural and sweetly appealing, and
picturegoers all over the country will
join in congratulating her upon her
instant success as a fully grown-up
actress on the" London stage She is
appearing in a dual role as a sailor's
sweetheart and, years after, as her
own daughter in ' The Faithful
Heart," at Comedy Theatre, opposite
Godfrey Tearle. As Mary Odette has
not been on the stage since she was a
child, the last few years of her young
life having been occupied with making
twenty-four picture-., the screen has
scored a triumph in training this girl
for the speaking drama, quite refuting
the views of many critics.
Another young favourite, Shirley
Mason, lias a double appearance
this month. Wing Toy, in which
Shirley is a mischievous and affection-
ate Chinese girl (in reality a kidnapped
American child brought up as an
Oriental), is an entertaining picture ;
The Awakening of Ruth is also pleasant,
and with little Miss Mason this time as
a fisher girl, gives plenty 'of oppor-
tunity to show us that she can rival
the comedy belles in swimming and
diving as well as in charm and fas-
cination.
A twentieth - century problem of
married life is the axis around
which Silk Husbands and Calico Wives
revolves. A man who lias risen in
his profession finds that he and his
wife, lacking interests in common,
are drifting apart. " A man expects
In/ wife to climb the social laddei
wiih him," says " I >eane Kendall." who
is impersonated by House Peters, an
expert in films dealing with modern
matrimonial difficulties The wile is
Mary Alden, who has done some
wonderful characterisation oi late ; she
was the mother, tragic in spite of her
selfishness, in The Old Nest. Eva
Novak is the "other woman," while
Edward Kimball (Clara Kimball
Young's father) is a familiar figure in
the cast. Those who like " something
to think about " will greatly enjoy
this picture.
P
ancelia Billington is seen a second
time this month as the featured
player in Hearts are Trumps. This is
melodrama of the best type, and
originated in play form at Drury
Lane. Like most melodramas, it
screens better than it stages, for the
spei lai ular scenes can be given full
value. The Swiss episodes are full of
suspense and excitement, the ava
lam he scenes being especially awe-
some. Picturegoers should look out
for Alice Terry, who plays the part oi
Lady Winifred's daughter with much
charm She has lately been given
leads in four big pictures, which we
shall see later on The lour Hoi temen
of the Apocalypse, The Conquering
Power, Turn t" the Right, and a new
version of The Prisoner oj /t m/a ; and
film fans will rind much in her to
admire.
Lovers of melodrama are well catered
^ for this month, both in British
and American films One of the
former is A Man's Shadow, starring
Langhorne Burton, who has graced
many a good costume play with his
handsome presence. In this picture
he has a dual role, the hero of the story
JACKIE COOGAN
DOLLS.
Members oj the R. A. Walsh " Kindred oj the Dust compai y
location. From le\t . Ralph Graves, If. / Fergus* n, 1/ riam < noper,
R. -f. Walsh, find Lionel Belm* re.
THESE delightful little minia-
tures of Jackie Coogan are
entirely British-made. They are
fitted with the novel ' Evvipoze'
jointing, which is far superior
to the old-fashioned method.
Each Doll is hfllv dressed and
wears a Mohair wig. The head
is unbreakable and . far more
durable than the usual " com-
position " Used.
THE COOGAN KID.
Large size. Kef. No. D1217.
I [eight about 14J in.
10/6
Postage, gd. extra.
Small size. Ref. No. 1 > 1 2 1 s .
Height aboui 4 J in.
1/6
Postage, 4<i. extra.
PECKS BAD BOY.
Large size. Ref. No. ])izi-\.
1 Rjight about 1 4A in.
10/6
Postage, od. extra.
Small size. Ret. No. D1218A.
Height about 4} in.
1/6
Postage, 4(1. extra.
You can get these jolly T)olh from all
Toy Shops and Stores. Children love
hem and get no end of fun nut of them.
DEAN & SON, Ltd.,
160a, Fleet Street, London. E.C. 4.
54
THE- PICTUR&GO&R
JANUARY )?7?
The
Question
of the
Hour —
Have you
Secured
Your G*>py
of
this week's
snow
Get it to-day.
Pri
ice
2D
having a double ; and the entire pro-
duction is more interesting than the
usual British photoplay of this type.
/ from the Sen has the real
Cornish coast as setting; its heroine
is Norah Swinburne, who pulls oil
■-wine daring shipwreck stunts with a
truly noble disregard of personal
s ill i Norah will soon become known
as a screen dare-i [e\ il ; she has lately
come home from making a distinctly
dangerous wild animal film in Ger-
main-, i " Pay Day, starring Rose-
mary Theby, is also melodrama of the
sea, and shows some interest i nt; scenes
in connection with the fish pa< I ing
indusl i
I^he only fault with The l-'orh
Woman is d-, rather slow move-
nt. Otherwise i1 is very fine and
in it Clara Kimball Young look- hei
nil beautiful and magnificent self.
The gowns she wears are gorgeous,
and feminine pi< t uregoers in par-
ticular will revel in the creations she
plays, Conwa) Pearle, now starring
in Selznick features, is her leading
man. May Allison is another actress
whose pretti frocks fascinate feminine
audiences, anil in her January film,
The II alk Ofts, sh< make- a delightful
Kiltv Rutherford The stor) "I Th
Walk Offs is distinctly clever, but a
preit\ love-story serves to mitigate
its rather flippant satire Maj Ulison,
reported married to many different
swains, has at last revealed the fact
that she forsook spinsterhood
time ago. Her husband is Robert
lliotl
C"* race Darmond we see again in
J So Long, J till i gaj live-reel
Christie corned j Its sub- titles are the
wittiest of the month's screen-litera
ture, and ('.race, Colleen Moore, T.
Roy Barnes, and the jovial Walter
Hiers make up a most
entertaining quartet te.
This was dainty little
Colleen's last
piece <> f
comedy work
• she w as
• a red in
drama by Mar-
shall Neilan.
Another com-
e d y , mo r e
interesting than most, is The I
( afd, featuring Max Linder, who
comes back to the screen after a long
absence, due to war service, with
the 1 rench army. The inimitable
Max is as amusing as ever in
fi\ ( reeler.
Another extremely well done mystery
melodrama is The Pw her,
starring Karle Williams ami Vola Vale.
It has the thrill of a serial with the
added grip consequent* upon its story
beiii" condensed into a five-reelei a
process which would improve practi-
cally every serial yet shown ! In
Windows', or While New York Sleeps,
we have real screen Grand Guignol.
There are three playlets knit together,
and we peep at life as it is lived by
respectable society, the " gay
and the human derelii ts of the under-
world. The stage management is ex-
c client, and Estelle Taylor, who has
since become a box star, acts bril-
liantly.
Again a " wife-taming "picture this
time with Constance Talmadge
as the fascinating heroine of /' ,
Business. She is a spoilt darling, and
makes a convenience in her usual
heartless fashion, which is neverthe-
less so captivating thai every man
in the audience would willingly < hange
places with her victim oi hei fathi
sec retary She even marries him to
est ape marrying someone else- ' Ken
neth Harlan, who plays leading man
in many of the' Talmadge sisl
films, is the husband, and pro-
v ides both ( onnie and us with
some surprises Norma and Con-
stance have both deserted New
York at last, and are making pic
tares on " the * oasl
Douglas Fairbanks /im' G. K . Arthur indulge
in somi spei
AMUARY 1922
THE PlCTUR&GOtR ^
SO M U C H B E T T R R T HAN
iTRONGFORT
fhe Perfect Man
Are You Fit to Marry
or to be Married ?
Man} State- have passed eu i ni(
laws requiring physical examination of both
pai I n before a mai riage license i an be
issued. rhose who an- no1 physically lit
arc forbidden t<> marry. How d<> you
stand ; Could you meel the requirements <>f
such laws ? Are you a clean bloode !. healthy,
vigorous specimen "t vital manhood? Oi
arc you a defective, torn ami wracked by
youthful errors and excesses • V >u be
forbidden to marry the sweetest, purest girl
in the whole world, and be doomed to
misery of a lifetime of regret; anil longi
Does it look hopeless to yon up
1 can Ik Ip you.
STRONGFORTISM The Modern Science of Health
Promotion will aid Nature in Restoring your Flag-
ging Powers and Manhood, an, I Fit you for Marriage
and 'Parenthood. I Guarantee It.
Send for my Free Book
Mention the weakness art-; ailments on which you want
lential information and send 6d. >n 2d. stamps to help
r postage: on mj free book, " Promotion and Contfrvaiion
of Htolth. .Strintih and Menial ErurtJ." It's a man-builder
an.t :> life-saver Send foi it Ritkl .Vote.
LIONEL STRONGFORT
icpt. P 12.
Physical and Health Specialist,
NEWARK. NEW JERSEY, U.S. A
Art teaching^post.
cT
THE NEW WAY
For fifteen years 1 have been teaching Drawing solely
bj Correspondence. During that time, I have I
many thousands oi people of all ages to I>i w,
merely for pleasure, others with t he definite idea ■ >.
becoming Professional Illustrators.
My Prospectus contains numerous examples of the work of
sin i essful Pupils, with their generous testimony t<> t 1 1* - help of
mv Postal Courses. Amongst these old Pupils are mm with
iames who b iting regularly to the j>
h ' alt*ney to date, has pub
500 drawings b\ Press Art S< hool Pupils.
ment typifies the
wi*rk ana xracttr
whit tal Tuiti •n aims
to develop. It was done by a forme* Pupil
though still quit
/>/•>■ annum mark
Vou can learn t«- Draw L'he method is n
logical and scieni fie. It teach D ving from the
wtj beginning in .* ^ into
nd eonttnn <us pleasure what — under old method;
more often than not dishearten i , • 1
Whether you are inl ~ on thr \matour or
Professional noil t of view, or it you hi ..-'■ ure to
v 1113 1 teaching and
its ,t, compl shmeiA \V ite for my
ILLUSTRATED PROSPECTUS FREE.
I the PREP \K \1;>KY I OI RSE fdr B< g
(if you have never d before, you can start to I
the correct way und< ;is.;. aud the \I>\ \ N ' I- I >
i <)l RSE for those who can already Draw but who have
dirfii ultj in st I j their work. It also outlines the working of
the Advisor) Stan of eminent Artists, and gives particulars of
complete Sei tions on C artooning and ( mi aturing, 1 ontribated
i| the best-known Cartoonists.
A postcard will bring the Prospectus. It you send m
d Pi pil's ><>•.. h, «.r nj, origin il D erred), 1
will send you a belpfuH riticisni >spcctus, post
free Write to me pi I '• n J \ . Kradsbaw, Principal,
THE PRESS ART SCHOOL ©
(Dtpl. P.G.I). Tudor Hall. Forest Hill. S.L 23.
CAar/nideS3
T.
laee
71 V I' I< V .'■ im 11 « h
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K
1
a t ; ■■ •
56
TWE- PICTUPC-GOtR
IANUARY 1922
THK
r
'ideal
HOME'
1
SHOWS
YOU
HOW
Till-'. January number,
now on sail-, contains
articles on so man)
aspects of home manage-
ment, that every home-
lover will find ideas and
a lvice in its pages. 1 lere
are some of the subjei ts
' ill n .,
'■ M\ ^35 Kiu lien "
saving _>. ' > 5 ; ( Collecting, a
I asci nating H ob by ;
" Remodelling and Re-
furnishing a Room " ;
:- ( Jood Housekeeping " ;
"A Step-saving Fireplace"
—a labour-saving device ;
•• Pictorial Practical Har-
dening " ; How to * Con-
struct a Rockerj ; " Using
up the Remnants" —
, , onomii al cooker) sug-
gestions ; " Poultry Keep-
ing " ; Where the Piano
should stand during the
Winter : Klectric Lighting
and 1 [eating ; Choosing
Pii tures lor the I [ome.
Get I1*'' January number
to-day and — givi your
X't^sa&ent 1/ standing order.
THE
IDEAL
HOME
Monthly
One Shilling
L
OPENING THE BRITISH OYSTER
said I. warmly,
vim England'?
I 'earson.
to every
meet
" That
British
occurred. I wanted Mime photographs
of Mr. Pearson " in action " to illus
trate this article. Mr. Pearson did not
want to be photographed. We cajoled
him in vain.
Let me tell you,
" that I 1 onsider
greatest prod
Tush ' " said Mr.
is your first remark
producer whom \ 11
Now, how the deuce did he know
that ?
Finally, Mr. Welsh promised to
obtain the photos tor me " If neces-
sary," said he, " Rex will hold George,
whilst Betty takes the picture."
The others agreed. How they kept
their promise the illustrations on these
pages will show.
We talked of divers tilings. Rex
Davis was recounting some sporting
exploits w hen :
I'm tired of sausage and mashed '
interjected Mr Welsh, suddenly, and
with remarkable vehemence.
(Do you remember Miss Somebody's
aunt m Dickens who used to interject
a vindictive " There's milestones 011
the Dover Road ' " during any lull in
the dinner-table conversation ? It was
just like that.)
Yes, I'm sick to death of sausage
and mashed," continued Mr. Welsh.
I'm fed up with jellied eels and tripe
and onions."
Mr Pearson turned a reproachful
gaze on his partner.
Not liver and bacon ' " he pleaded
And liver and bacon." declared
Mr. Welsh, violently. " People have
been eating these things in our films
for about two years— particularly in
Squibs and Maud Em'ly. We must
have a change for our next picture
Let us rise in the world and allow our
artistes to eat roast beef and- apple-
pie "
Talking of changes," said Hex
Davis ; " this is going to lie my last
boxing picture- absolutely I want
to let my scars heal 1 want to give
up being a hum, in punching-bag.
'that's what J want
Camping-out is one
0/ licit l.ylelV r,
creations. In this
1 It tu double - r r-
/>>"-(<;(' ItC Is elllt r ■
(aini)ifi him set I at
breakfast.
I asked Hetty Balfour what she
wanted
I want to meet somebody who
has met Mary Pickford," said the
little star. Someone who can tell
me just what she's really like."
Nobody asked me what / wanted, so
I knew that I had outstayed mv wel-
come Moreover, Mr. Pearson broke
the sad news that the hand-biting
scene would not be filmed that day.
Lunny little studio, isn't it ?
said Mr. Welsh, as I look my depar-
ture " It started life as a school,
then it became a chapel, and then the
Government commandeered it and
used it as a store. Now. .is a motion-
picture studio, it has reached its
lowest level."
With which remark — remembering
what Nothing Else Matters was, what
Squibs is, and what Maud Em'ly will be
I most emphatically do not agree.
(.hti'///r-r lirithh studio <irttrl-- will ofipcnr n
next moitth's is iitt .
ON OTHER PAGES.
I never use soap," a well known
film player was heard to remark
the other day. Sounds rather startling,
does u not ' But the lady in question
possessed a beautiful complexion
soft, smooth, and satiny. After a
while, she was persuaded to reveal
her secret that a " face-washer " took
the place of soap in her facial ablutions.
What is a face-washer ? " followed,
of ( ourse. " A dainty little sachet,
she replied, " which cleanses and.
whitens the skin, besides softening and
perfuming the water." Expensive ?
Oh, no ; for though they cost five
shillings a dozen, one sachet can be
used main- times. They're made by
that noted beauty expert, Mrs. Neville
Ross, ol ij, Mandeville Place, London,
the preserver of the poor film-) 'avers'
good looks. She will send you a trial
sachet lor a shilling, as well as generous
samples ol her lelightful face-cream,
Charmides Magique," and her
specially sifted face powder, also
christened " Charmides."
,1'U Wis I'KI s^ 1 I'll
JANUARY 192:
THE PiCfUREGOE-13
REUDEL BATH SALTRATES
THE BATH PREPARATION PAR EXCELLENCE
Stops Rheumatic
Cures Corns or
Callouses &
All Foot
Troubles
Aches & Pains
"Within Ten
Minutes
MAY
MOORE
DUPREZ
CONSTANCE
WORTH
DAISY
DORMER
HETTY
KING
BanishesNs^^'j^^ 6E0.robEy ma,^t^ ^H| ^HF' Unrivalled
Muscular"*^ • |jt ^^^/^^\/i^||J %T /for Gout
Strains &SPra'ns\^j|^pH f^ 3Hk m^W Lumbago
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58
THE- PICTUQEGOE-R
JANUARY 1922
"THE GLORIOUS ADVENTURE"
■■ tf// from p
Your horrid Mr l'nwin will be
here this afternoon."
Kosemai istenec] isl her.
Quick ! Rosemar) cla n I ,ad y
B itrice ; "there is important business
foi me to transact to-day. h means
ever) thinj to me ind to my mothei !
" And what ma y it tn 1 pray i hee tell
me, my Lady,'' replied Rosemary,
worried.
Monej ! That and nothing more;
but it is all oli so serious ! "
Lad) Beatrice by now was dressed.
Hasten, Rosemary," she In ted an
i la r all my jewels I must
humiliate mysell b) pledgi Lg them to
meet our debts."
Oh, my Lady," sobbed Rosemary.
Waste no time weeping, good Rose-
mary," affirmed Lad) Beatrice with self-
mination ; " t Ins is a time for
ai t ii 'ii. 11' I proi ure not this
money, the blessed Saviour help -yy;/, pr{S0M
mat i >
A thrilling
Noon saw Lady Beatrice at home sceHe from
in after a morning of' worries. next
ink, exhausted, into a chair in month's
her bedroom, and stared vacantly instalment
at a small bag of money she held in
her hand.
" Is it not enough to satisfy
Mr. L'nwin, my Lady ? " asked
Rosemar)
" It is far too little."
plaintively replied Lady
ice. " What shall I
do ? It is useless to take this."
At this moment a servant
too d at the di
" My Lady," said he.
" Oh, Peter, whatever is
it > " Lady Beatrice inquired
tremulous!
The honourable Secre-
tary of the Admiralty, Mr.
Samuel Pepys, sends his com-
pliments to the Lady Beatrice,
and requests the privilege of
an interview." The bewildered
butler heard Lady Beatrice's
agreement to see Mr. Pepys,
and withdrew.
Lady Beatrice and Rose-
mary exchanged quick, ner-
vous glances.
I am afraid, Rosemary.
The King was SO forward -
and 'tis said he has
many women at Whitehall,
Lady Beatrice was worried
but mustered up courage and
quickly prepared to see the
's emissary,
Mr. Pepys paced the floor
of tin' drawing-room, now and again
glancing toward the door and drawing
his face mto quaint, puckered expressions,
as was characteristic of him.
Ah, my Lady, how exquisite you are
to-day ! " he exclaimed roguishly, as he
bowed low and kissed Lady Beatrice's
hand.
My mission must In exi cuted swiftly,"
continued he, " as grave duties of £
await me at the Admiralty, and in con-
ice with his gracious Majesty the
My Lady, I am commanded by
Kin i nvey to you Ins expres
"I high esteem and admiration. His
Majesty bids me invite you to the ban-
qu i at Whitehall at eight of the clock
Jirrmv evening. "
Chuckling and murmuring to himseli
as he made ins departure, Mr. Repys was
surprised to note the arrival of two other
One was a woman of im-
pressive appearance tall, handsome, but
rathei too eleganl I v dressed. Thi ot
".is a \ ang man oi -inking face and
figure
Lad) Beatrice had not yet recovered
from the shock ut the King's command
when Rosemar) announced the Lord
Fitzroy and Mistress Stephanie Danger-
field.
M) Lady, it is such a joy to see you
again after these months of missing the
privilege of meeting you ! " exclaimed
the rather too enthusiasts young Lord
I itzroy, as he kissed her hand. " I saw
your Ladyship this morning as you en-
tered your coach, and I have made bold
to pay this visit and bring with me my
dear friend, Mistress Dangerfield, whom
,<--.■■ ■■?,.
I am very eager to have you know."
Stephanie was watching the beautiful
Lady Beatrice witli a quizzical expression,
and now bowed as she was introduced.
Lady Beatrice motioned her visitors to
Lord Fitzroy referred to enter-
tainments where he had met Lady
Beatrice; and she, knowing of the high
on of his family, little suspected that
he had fallen into a dissolute manner of
living, associating with criminals.
My Lady, I see you are indisposed
and worried," said Lord Fitzroy, alter a
spell of conversation. " \t such a time
one woman can comfort another, and so
I shall leave Mistress Dangerfield ' with
you. She and you, I am certain, will
mis."
Lord Fitzroy kissed Lady Beatrice's
hand, and with a knowing glance at
Stephanie, departed.
I '-ft alone, the two women engaged in
a conversation at first perfunctory; but
as the w lies of Stephanie win
i .' od upon the unsuspecting Lady
Beatrice, became confidential. Worried
and perplexed, I. ads Beatrice fell under
the Spell of the artful pretensions of
friendship of the experienced Stephanie.
And hnalU the truth of Lady Beatrice's
predicament was revealed by her.
Stephann pretended to be greatly sur-
prised.
" Listen closely to me, my Lady," she
said with assumed emotion ; " there is a
way out of your diffii ulty, and I shall
guide you. I, too, was in debt, and in a
position more dangerous than yours ; but
I played at a game of chance, and in one
afternoon my winnings saved me."
Lady Beatrice was eagerly interested
on hearing this.
" Will you go with me to this gamim
place — to-morrow ? " pressed
Stephanie.
Lady Beatrice bowed in
assent.
When Stephanie had de-
parted Lady Beatrice visited
Mr. l'nwin, but she met with
little consolation. The cunning
lawyer informed her that the
money which she offered him
would not pay a tithe of her
dressmaker's bills.
In a private room, command-
ing a view of the ensemble
of gamblers, sat l'nwin and
Roderick, darkly meditating
on their plans. Stephanie en-
tered in haste, and both men
sprang up at sight of her.
" Are you certain she will
come ? " asked Roderick.
" She may arrive at any
moment," answered Stephanie
confidently, as she took her
stand beside the door to watch.
" She must be made to lose'
and give notes for not less than
rive thousand pounds," em-
phasised I'nwin.
" There she is ! " exclaimed
Stephanie, as she passed out
into the main room.
' Lady Beatrice nervously en-
tered the place, escorted by
tin Lord Fitzroy. She looked
about her uneasily as she saw
the crowd of well-dressed men
and women at the gaming
tables.
Stephanie advanced to meet
her, offering reassuring ex-
pressions that made the em-
bryo gambler more at ease.
A table had been reserved
at one end of the room, and here Lady
Beatrice, Stephanie and Lord Fitzroy
took their stand, while the girl, ex-
pectant of large gains, was instructed in
a game that was to prove her undoing.
Standing within the private room,
l'nwin and Roderick looked on.
Lady Beatrice was quick to learn the
rules of play, and at first luck appeared
to be with her. She was quite thrilled
by her gains, and smiled radiantly on
Stephanie and Lord Fitzroy.
Then, of a sudden, everything changed,
and she suffered a less Again and again
the game went against , her. Wound.
turned to Stephanie in mute inquiry.
"Don't worry, my Lady," answered
Stephanie : " any round may *bc the
turning point. You are bound to win."
Thus comforted, Lady Beatrice played
until her last money had been lost and .
she was already in debt. One note after
.
JANUARY 1922
THE- PICTUf39GOE-f3
59
another was signed, as in the flush of
hope and excitement, and undei
courageraenl ol Stephanie, she playe I m
losing heavily.
At last, in desperation, she abandoned
'.line, and asked Lord Fitzroy to
her to her ho
Rosemary sought to i ort
Beatrice upon her return to her
homo, but her ted in-
surmountable. Lord Fitzroy' had em-
phasised to her the serious obligation
involved in the notes she had signed at
the gaming house.
My Lady," said Rosemary, "there
is a way out -a way that I have heard
"i ladies of high station taking."
From a pocket in hei Rosemary
drew a copy of The London Gaz] i n
which she showed to l.ad\ Beatrice.
" Look here, my Lady, read that."
Rosemary pointed to an article on tin-
front page narrating that ladies of fashion
had taken advantage ol a law then p
vailing in England automatically trans-
ferring the debts 61 a woman upon
marnag. i<i her husband by marrying a
condemned felon in Newgati I 1 on the
night before his execution.
1 i ould never do that ; it is toe
terrible, Rosemary 1 " exclaimed I
Beatrice
It is a way out of your difficulty,
my Lady," pressed Rosemary.
Lady Beatrice sat in deep thoug
Suddenly her face brightened. She rose,
her whole appearance illumined with a
new inspiration.
Hut wh\ marry a horrible criminal ? "
she asked. " Is there no one els,
Who ' " asked Rosemary.
" My Knight of the Inn! answered
Lady Beatrice. " Quick, Rosemary, there
is no time to lose. Bring me. a box and
ribbon to tie it up, a white rose from the
vase, and call Peter at once."
Rosemary did as directed. Lad)
Beatrice placed the white rose in the
box. tied it up with ribbon, and handed
it to Peter, the servant.
Peter, carry this in all possible
haste to the Hoar's Head inn, and give-
it to the inn-keeper. He will under-
stand. Do hurry, Peter ! "
Scarcely an hour later, Peter returned
with the message that the nameless
Knight of the Inn would call upon Lady
Beatrice forthwith.
Lady Beatrice quickly dressed, in her
new prospect of happiness forgetting all
her worries. She awaited her visitor in
the garden.
The handsome stranger arrived and
found Lady Beatrice in a flutter of
gaiety. Mutually happy at meeting
again, they talked over their meeting
at the inn. the dramatic sword combat
ami their strange parting. Lady Beatrii i
plainly showed her elation. ' and her
maidcnlv reserve was cast aside in the
realisation of her purpose.
Is there any service I can render
your Ladyship ? " asked Argvlc.
"Yes," replied Lady Beatrice archly.
Marry meat once and ask no reason
Marry you at once ! " repeated Argvlc,
surprised and happy. Then he knelt
re Lady Heatrice.
I shall be happy to comply with your
request, my Lady," lie said seriously
Hut you do not even know my name."
"lis the man that matters sir ; not
the name." she answered archly,
So it was arranged that they would
be married the following afternoon at
the Templars' Chapel. He would call
at three o'clock for her.
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Little did they suspect that this inter-
view had been overheard by Humpty,
the spy for Roderick. Hut before \i'
had left. Lady Beatrice, Unwin and
Roderick had been informed of the
marriage plan, and decided to entrap
Argyle.
Roderick in the meantime had legally
dished his right to the Earldom of
Hillsdale, and Argyle, upon presenting
himself to claim his title and estate, had
been regarded as an impostor. Roderii k
knew that \rgyle was aware of the
identity of the successful claimant and
was searching for him.
I shall stand where he can see me
from his coach," Roderick told Unwin.
■ " He will then follow me here, and my
men will make a prisoner of him."
" Excellent ! " agreed Unwin.
The plan worked perfectly. As Ar-
gyle's coach passed through a Street on
his way from Lady Beatrice's home to the
Boar's Head Inn, he looked out and saw
Roderick. Quickly he ordered his driver
to stop. Argyle jumped out, and as he
did so Roderick moved on. cleverly
leading Argyle to the Thieves' Kitchen.
At the entrance, Roderick hurried
downstairs, notifying the thugs awaiting
tin re that their prey was coming. Argyle
quickly descended the sta I no
.r was inside the place than the
thieves closed upon him from all sides and
Id him and bound him with ropes.
On the following afternoon, Lady
Beatrice, dressed for her wedding, and
happy, awaited her bridegroom I
o'clock passed ; then half an hour and
an hour more. She was bewildi
Then Peter entered with a box. Lady
Heatrice opened it quickly, and therein
found a white rose, its petals smeared
with dark spots. And attached to it a
which read : " Your rose and
• blood."
She broke out sobbing as the realisation
of tie mi i:ing of tins dawned on her.
"Dead, my beloved!" she moaned.
"<)h. whaf villains could have done
this ? Whal shall 1 do ( "
The pari played by Stephanie in this
\ as one of import-
ance ,, her spirit rebelled against
engulfing the beautiful and innocent 1 acly
Beatrice in this mi intrigue,
love for Roderick compelled her to do
anything that he requested of her.
But now her jealousy was aroused.
Whal is Roderick's interest m Lady
she asked herself over and
ovei again.
She brooded over this as site sat out-
side watching the gamblers. Suddenly
she looked up,, saw Unwin and Roderick
moving about the rooili, and came to a
quick resolution. She would hide behind
the screen and overhear their conversa-
tion upon their return to the private
room.
I hanie ci et place,
and prcscnth the two conspirators
entered tl sed the
King is enamoured of her I
ship, and Mr. Sc< i
her to Whitehall," Unwin said, as they
took the'ir sea
Hut I do :
her ! " exclaimed Roderick hotly, jum
up and pacing the floor.
You tool 1 " laughed Unwin. " The
King's favourite and your wife—what
more could you •
60
All interested in
British Picture-
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should read
THE MOTION
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STUDIO
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THE PICTUR&GO&R
TO MORROW.
- ..- . 1 »••■•/''
throne m twenty years is in m\
upinii 111, In iping in" li u ' I I 1 ii.- 1 c v\ ill
be in. in- "I tin-in than there air to-
day, luii. like Shakospearcs, lliej do
not grow on plum trees, The day
after to morrow three < 1 < - lcIcs
hence will be their lull dawn There
w ill never be a lot oJ them, the) will
be almost " exclusive " to the smaller
and better theatre . but they will have
their lesser followers, and these lesser
followers will sit on the smaller
thrones ml the more popular and bigger
theatres \t that day the " sup< ri
ority " "I American or English or
Swedish films will begin to be for-
gotten. " Bigger and better pit
tures " is the cry in the industry to
daw Bigger and better MEN " is
the proper cr\ It is not heard in day
It will he heard to morrow The day
after it will be unnecessary.
The big men ol the industn will be
tin- ant Inns I believe thai either these
authors will actually produce their
films themselves, or will write scenarios
that will admit of no mistakes <>r
" twiddly-bitting " on the pari of the
producer. The producer, as such, is
ncaring his zenith In the next twenty
vears he will slowly decline as the
author steps into prominence and in
the following decade we shall see ln->
eclipse. Within the next twenty
years we shall see what producers are
left shrink to the position oi work
men skilled workmen, but ol no
more importance than the property
man and the camera When the really
lu^ film authors arrive the producer,
at leasi in the better class of photo-
plays, will vanish altogether The
Stevensons and Tennysons and the
Thackerays of the screen will be no
more willing to let the producer
" interpret " their work than they
have in literature been willing to let
the printer's reader and the pub-
lisher's maiden aunt " improve " <>n
their manuscripts
The sub-title will lie gasping for
breath in 10,42 In the small theatres
it will be very nearly abolished It
will remain for snatches of. dialogue
that are absolutely necessary, and for
casts and introductions. Passage ol
time, the falling of night, etc., will be
denoted by curtains, time-glasses, or
some other pictorial means Speech
you (annul photograph, bul the
passing nl time can be shown as well
as talked about, Even speech is nut
always necessary In 104- there will
JANUARY 1922
pin iti ipla\ w 11.1. HI
after the nun
the places am! the
the players - There
ie stars in 1042, just
We
In- more than one
,1 single sub-titlt
duetory.
So 111 il' li foi
plays What of
w ill. i il 1 inn se, I
as there are stars to-day We hear
much abuse of the stai system," but
really the stars nf to-day are " all
right It 1^ the siutl they are thrust
into that i-- mi often shoddy. The
1,11 t thai Mary Pickford maj have a
poor part in the worst picture that
was ever produced does not make her
a third-rate a< tress, and is no criticism
of the " star system." It is, however,
slashing criticism nf the policy of
putting nut third rate pictures, even
with first-rate actresses in them
A moving thought . what of the
stars of to-day, to-morrow ? Of the
favourites we applaud nightly, how
many will be with us then ? And will
they still be playing, still be popular ?
I line will bring main changes. I )ougl,is
Fairbanks, at that year, will be nearing
sixty. Will lu- be can he lie so
dashing then as now ' Will Mary
still be the " world's sweetheart ? "
She cannot then be " that little girl
with curls." Shall we si ill be cheering
the little lady and telling the young-
sters how we remember her " first
coming out a kid of sixteen or so ?
And what will her roles be then r Our
stars nf to-day are all children, more
or " less counting from tin- birth of
their careers They have been with
us only a little while They have not
had time to .liter very much. But the
children must grow up . . .
Wallace Reid, 111 104J, may be the
handsomest " father " or " villain;"
or handsomest something that tlits
across the screen , we cannot in fair-
ness ask him still to be the " bonniest
boy m the movies " Why ? Jackie
Coogan will be nearly thirty a Kid
no longei And the immortal Charlie —
fifty-two '
It is hard indeed to think of Charles
Spencer as a film actor of fifty-two !
We suppose the old run and gallop
will be gone, and he may not be able
to dodge the sawdust brick so cutely
as to-day. But 1 think that age will
not wither nor custom stale his infinite
satiety. Charlie old will be wonderful
as Charlie young, and if he is still
filming 111 filmland's to-morrow, I will
wager that he has as many new tricks
up his ancient sleeve .is the youngest
of em.
In [942 ' In twenty years!
May he be there to do the tricks.
And ma\ 1 be there to see.
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FLAVOUR"
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JANUARY 1922
THE- PICTUR&GO&R
61
THE GLORIOUS ADVENTURE.
{Continued from fiagr fet).
" Desire ? " snapped Roderick. " I tell you I am mad
or her. 1 am not willing' to share her even with the King ! "
" So you love the Lady Beatrice ! "
The voice was that of Stephanie, full of fury and menace.
Both men turned and saw her emerge from behind the
icreen. Her face was livid with rage. She approached Roderick
md spoke in tones tense with emotion, as her breast rose
ind fell with excited breathing.
"This, then, is my reward for my years of devotion and
service ! You have made me your confederate in crime, and
my foolish love has caused me to yield and do your bidding.
Now you love another woman, but would use me as a tool
to further your ends. You are not so clever, Roderick, as you
think ; nor you, Solicitor Unwin, for I tell you that neither of
you will win in this game of treachery. You will never have
the Lady Beatrice, Roderick ! "
As she spoke, Stephanie's fury mounted, and she moved
stealthily clost to the table. She stood, her back to the
:able, facing tl e men, her hand behind her reaching for a
tnife that lay among the papers.
[The concluding instalment of this splendid film story ivill appeal next month.)
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JANUARY 1922
\T0V will, I think, agree that
I this month's issue of " THE
PICTUREGOER" is worthy of
your " great expectations," and you
may take it as a
Purely sample of the
Personal. good things we
have in store for
our readers during 1922. This issue
contains many new and attractive
features, and "there's more to
Keep your eye on "THE
PICTUREGOER," and tell your
ids about the paper.
LAST month I wrote Finis to
Nazimova Frederick con-
troversy, but I can't resist the follow-
ing letter, which I reproduce without
comment : " I
The Last have just seen
Word. ' T H E P IC -
TUREGOER ' for
I )• 1 embei , and should very much
liki to know whv, in your column,
Nazimova's name 1- printed in large
1 , and Pauline Frederick's name
in small type. As one of Polly's
adorers, I strongly object to this,
: tiould like to' know the reason
it, for, of the two, surely Pauline
Frederick's name should be in bigger
type 1 han x 1 inn a's, for she is the
acknowledged emotional Queen of
5« reen " U D. Y.-J. {Glouces-
tershire).
N' < »\\ that 1I1. m 's pea< e in
old Ireland once more, 1
hop< (iio\ i, ma k( 1 - will gel busy
and let us have some Irish pictures.
Years ago the
W.mted : Kalem < Company
Irish Pictures, made a large num-
ber of pictures in
Ireland, but since then our country
has -been shamefully neglected by
film producers. It's all wrong. We
have unrivalled scenic backgrounds,
and everyone knows that our Irish
girls are "the finest in the world." —
Pat {Dublin).
I SHOULD like to enter a plea
for the Happy Ending. Real
life is composed of far too many
' sad endings ' to make a constant
reflection of them
A Plea for on the screen
" Happy popular with the
Endings." majority of pic-
turegoers. Let us
have the sad ending occasionally as
a change to the happy finale, but a
succession of sad ending pictures
would be very undesirable." —
L. P.-B. {Manchester).
SOMEONE entered a protest in
a recent issue against the
over-dressing of the movies. I
should like to address a few words
to those producers
Mounting who select their
the Movies. ' sets ' with a
keen eye for spec-
tacular effect, but no eye at all for
realism. One sees ' dining-rooms '
'on the screen that possess the
dimensions of old-English baronial
halls, and the spacious rooms in an
average screen 'house' could not
be kept clean by anything less than
a battalion of servants. I wish film
producers would not be so ' expan-
sive.' ' .1/. G. {Rochester).
READERS are sending in their
selections for "the best all-
British film," but this issue will
have closed before the final result
can be known. I should like to
mention, however, that the majority
of readers so far
The Best are voting for
British Film. Carnival, which
was not an all-
British picture, as the producer,
whose art contributed so much to
its success, is an American. Bear
this in mind when making your
selection.
CAN nothing be done to stop
this desecration by film pro-
ducers of the works of Sir J. M.
Barrie ? Why must they film his
stories ? They
A Caledonian only spoil them
Stern and Wild, in the process.
There was not one
touch of Barrie in the film version
of The Admirable Crichton, and I
tremble when I think of American
film versions of The Little Minister
and Sentimental Tommy. There
should be a law forbidding the film-
ing of literary masterpieces." —
G. N. M. {Glasgow).
SOME picturegoers object very
strongly to the re-issue of old
films, and consider themselves
cheated if they find a re-issue on
the programme
Are Re-issues of their kinema.
Wanted ? There are, on the
other hand, many
people who love to see old favour-
ites. I see no objection to re-issues,
provided that they are always
labelled as such, both on the film
and on the posters outside.
" T THINK that if Bessie Barris-
1 cale took other parts in pic-
tures than the wife whose husband
deserts her for the ' Vamp ' and
then returns to
Artistes in her, after he has
" Slock " Roles, failed, to ask her
to forgive him, it
would be a great improvement. I like
Bessie Barriscale's acting myself , but
it is not very satisfactory to see the
star in different pictures yet all having
the same theme." — Jinx {Blackpool).
The above introduces the vexed
question:
" Should stars
remain true
to a certain
type, or should
they seek new
characterisa-
tions for each
successive pic-
ture ? " What
do you think ?
Address "T
Thinker," c.o. " Pic-
ttiregoer,"93, Long
V re, W.C.2.
FEBRUARY 1922
I "
THE- PICTU RE-GOE-R
PREMIERE WORLD SHOWING of J. STUART BLACKTON'S
Natural Colour British Production,
IMie GCorious
♦ Adventure ♦
A Romance of the Great Fire of London,
at the
©fie Roijal Opera House
Couent Garden
Under the management of Walter I\ \\ 'anger.
Stuart
This epoch -marking film, the first complete photodrama
to be produced in natural colours,
PRESENTS
Cadtj Diana fanners
and an exceptional cast, including:
CECIL HUMPHREYS,
ALICE CRAWFORD,
GERALD LAWRENCE,
HAIDEE WRIGHT,
FLORA LE BRETON,
VICTOR McLAGLEN,
HON. LOIS STURT,
WILLIAM LUFF,
ELIZABETH BEERBOHM,
And 200 other Leading
LENNOX PAWLE,
ROSALIE HEATH,
RUDOLPH DE CORDOVA,
GERTRUDE STERROLL,
FRED. WRIGHT,
MARJORIE DAY,
LAWFORD DAVIDSON,
VIOLET VIRGINIA BLACKTON
TOM HESELWOOD,
Stage and Screen Artistes.
Scenario by
FELIX ORMAN.
Special Old English Musical Score
by Laurence Rubenstein*
S*w
.*a
Controlled in the United Kingdom by the
STOLL FILM CO., LTD.
LADY DIANA MANNERS.
THE- PI CTU RE-GOE-P
FEBRUARY 1922
A?k for
TURF
CIGARETTES ^
20 » If.
K A Great Artiste
i
\
and a
Great Cigarette
Just as Pauline Frederick
owes her fame as a film
star of the first magnitude
to sheer merit, so " Turf "
Cigarettes have achieved
their foremost position
by reason of outstanding
quality.
The mild, ripe fragrance
of "Turf Jubilees" (20
for 1/-) is a revelation
alike to the man who has
always favoured a high-
priced Virginia cigarette
and the man who is in
the habit of smoking an
ordinary "20 for I/-"
brand. If you do not
already smoke " Turf "
Cigarettes, get a packet
and judge them for
yourself.
Ask for " Turf " Derby
(20 for 1 /3) if you like your
cigarette* a little larger ; and
"Turf Big (20 for 1/5) if
you want the largest size.
M.de by ALEXANDER BOGUSLAVSKY.
55, Piccadilly London. W.l
FEBRUARY 1922
THE PICTUrs&GOE-P.
THE- PICTUREGOE-R
I^icturegoers are divided sharply into two classes : those who adore Alia Nazimova.
and those who do not care about her. Which are you ? The incomparable
Alia has just completed a film version of Ibsen's " Doll's House," the play in which
she scored so heavily on the legitimate stage.
FEBRUARY 1922
THE- PICTUR&GO&R
THE- PICTURE-GOER
Editorial Office*:
93, Long Acre. London.
VOL 3. NO. 14
FEBRUARY, 1922
Registered for Transmlislon
by Canadian Magazine poit.
qA February ^Diary
ON Friday, Feb. 5th, 1897. Olga Nethersole as " Carmen was the toast of
Philadelphia, and playing the smallish part of " Don Manuel Sarceda
in her company at the Broad Street Theatre was a biggish, fairish, very
blue-eyed young man of 21, called William Farnum. He made quite a swash-
buckling success of it, decided that he liked romantic parts, and that he felt he
was fitted to play leading roles. We think he was a wise guy.
On Saturday, Feb. 6th, 1911, the word " Tarzan meant less than nothing
to Elmo Lincoln, who worked on a railroad and had never been inside a kinema
or seen a film. It was Elmo s22nd birthday (he was known as Otto E. Linken-
helt those days) and he celebrated the occasion by spending hours cleaning up the
engine he drove. Nowadays, Elmo and Tarzan of the Apes are as one, and you'll
be seeing him in his latest serial 7 he Adventures of I arzan before Feb. 6th, 1923.
On Tuesday, Feb. 8th, 1921, Carnival, acknowledged by public vote to be
the best and most popular British film of the year, was shown to the Trade. On
the same date in the year 1918, a special attraction at the Princess Theatre, New
York, U.S.A., was the delightful solo dancing of pretty little Constance Binney,
who is now a Realart star.
On Wednesday, Feb. 15th, 1882, the young gentleman who was
to achieve the double distinction of being both America's favourite
matinee idol, and one of screenland s finest character actors, opened
his small mouth and uttered his first very large yell, and there was
great rejoicing in the home of his parents, Mr. and Mrs. Herbert
Blythe. Their stage name was Barrymore, and they christened
their small son, John.
On Wednesday, Feb. 21, 1906, " Way Down East " was billed
at the Grand Opera House, Salem, Oregon, U.S.A., and the part of
" Martha Perkins, the mischief-making gossiper, was
played by Vivian Ogden — a remarkable bit of
character-work. Now, in 1922, sixteen years later,
Vivian Ogden is still playing "Martha Perkins" — in
the Griffith film of the famous old play this time.
On Thursday, Feb. 22nd, 1898, little eleven-years-
old Marguerite Clark " cried, and cried, and cried " be-
cause it was her birthday and she was spending it in an
Ohio convent. But she cheered up a little in the after-
noon when her elder sister arrived from Avondale, and
brought her a doll nearly as big as herself, and a book
of her favourite kind — fairy tales. In the year 1877,
Feb. 22nd fell on Sunday, and as it was George
Washington's birthday, the son and heir of the Costello
family, who arrived on that day, was saddled for life
with the names of Maurice George Washington Costello.
But you can t keep a good man down, and he became a
world-favourite in the movies in spite of it.
On Friday. Feb. 23rd, 1917, two extraordinarily
pretty fair girls both graced the same musical show in a
New York Theatre. Justine Johnstone and Marion
Davies were the bright particular stars of " Oh, Boy !'!
the musical comedy hit of the season, and, far from
Justine casting black looks at Marion when Marion's
mail-bag was heavier than her own, or Marion looking
peeved when Justine had the most flowers and candy,
the two pretty dancers and singers were bosom friends.
1hev still are, though Marion heads her own film
productions in America, and Justine Johnstone has
settled down to being Mrs. Walter Wanger in England. "
THE- PICTU RE-GOErR
FEBRUARY 1922
l/i/i Miunn
in " Idols oj
Clay."
£
Qsnion
Everybody who is anybody in the world
fashion has now fled from England to " winter "
in sunnier lands. So let's be fashionable and
travel in search of the sun by the magical movie
route along which the poorest may travel.
HPhose fortunate mortals
i gifted with worldly
wealth flee from the drear
skies of wintry England
and bask in the sunshine of
the Riviera and climes of
similar brightness. But
even if you are not a
Croesus, the sunny-blue
skies and sparkling seas
of lands caressed by
nature in its loveliest
mood are not beyond your
reach. For the kinema
screen, like the magic
genii who nightly spring
through pantomime trap-
doors at this season of the
year, carries you to such an
Elysium. For the price of
a seat in a kinema you
can be whisked away to
sunny lands and become as
fashionable and opulent as
the plutocrats who throng
the marble terraces of
cloudless Monte Carlo.
Come with Mae Murray and David Powell to the South
Seas, where, amidst nature's panorama of turquoise waters
and vivid tropical scenery, the love story of Idols of Clay
is unfolded. The southern sun radiates from the screen
and^the placid waters that frame this island romance arc
balm for the jaded nerves of city dwellers. Idols of Clay
breathes the atmosphere of the tropics, for the picture is
a production of th.it artist in colourful screen presentations,
George Fitzmaurice. The story of the young London
sculptor, whose faith in his career and human nature has
been shattered by an unscrupulous woman, and who drifts
southwards to find happiness in the simple love of a pearl
smuggler's daughter, harmonises effectively, with the beau
tiful southern scenery. It banishes from "your mind the
thoughts of the wind that may be howling round the
£ Houdini liau
some anxious
moments in
Terror Island."
Sortna Talmadge and Wyndham Standing in '
Conquest."
obtained
picture hall in which you arc
seated, or the chilling sleet
that is drifting on to the root.
The sunny charm of the
Pacific is reflected in the film
version of The Admirable
Crichton, for in order to supply
the correct atmosphere for
the island scenes that are the
main feature of the play, a
locale was selected on Santa
Cruz Island. Brilliant sun-
shine was there, and Un-
necessary cloudless horizon,
but not the indispensable
tropical atmosphere. So the
resourceful director had great
loads of foliage and tropical
plants transplanted so that
the American island resembled
The Tsle of a spot in thc South Seas. Thus
the illusion of a tropical jungle
was obtained, and Society men and women, suddenly
stripped by the hazard of shipwreck of their wealth,
trappings, and position, worked out their destinies on the
lines of Barric's immortal play. In the scene where the
survivors of the wrecked yacht are cast up on the shore,
the picturesque appeal carried away much of the suggestion
of the tragedy that followed in the wake of the storm. The
crystal waters of the Pacific lapped the sandy beach with
restful ripples that were reminiscent of a bathing beach on
the Riviera. In these highly civilised times the story of
derelicts cast on to a desert island away from the conventions
of everyday life has a fascinating appeal. The setting of the
film play, The Woman Thai (God Changed, dealt withtwosuch
castaways. But there is a twist in their story which raises
it from the rut of conventionalitv. The man is a detective
FEBRUARY 1922
TM E- PlCTU(5EGOE-f3
and the tjirl is a murderess. He was
holding her as his prisoner when the
storm intervened and wrecked the
vessel on which both were travelling
back to Now York, when' the prison
cell a waited the fair criminal. Thrown
on a desert island, the detective and
his prisoner find that they are but
primitive man and woman. And the shackle
of justice become the bonds of love. How ih
girl. \ ears later, faces her trial, and is defende<
by the man who originally hounded he
down, provides the thrilling climax to th
story. Beautiful night scenes, with moon
light bathing the still, tropical seas wit
romantic rays, form the background for th
island love scenes. Since the days ol " Th
Blue Lagoon," seldom has a love story mature
amidst more enchanting surroundings.
Even Houdini, whose wizardn is invariabl
presented on the screen amidst civilised sui
roundintis that embrace the roofs of sk\
scrapers, railway tracks, and prison cells, hn
succumbed to "the lure of the South Se
setting. In Terror Island, Houdini sets
on a chivalrous quest to rescue from isI
natives the father of the heroine played
dainty Lila Lee. South Sea Island advent
follow- thick and fast. When the famo
screen illusionist fights with a
giant savage, and plunges from
a high cliff into the ocean, the
setting of the scene is a beautiful
excerpt from nature. The placid
seas, with the sun sinking with
vivid splendour beneath the hori-
zon, paints a peaceful picture
that is a strange background for
the presentation of an episode
that breathes the ferocity of
unbridled human emotions.
There is an arresting charm
in the picture of the midnight
rescue of Katharine McDonald
from a horde of South Sea Island
savages, which appears in The
Infidel. The scene, taken at two
o'clock in the morning, has
caught the beauty of the tropical
E. K. Lincoln and Seena Oiven in
" The Woman
God Changed."
[ieli • I h raldina u;
night, and although Sunlight arc lamps
were utilised to put " more power to the
elbow " of the moonbeams that played on
the glistening waters, the effect of the
luxurious warmth of the nocturnal hours
of the South was realistically suggested.
The terrific storm produced by the
mechanical arts of the director, that pre-
ceded the sunny scenes in Trumpet Island,
scarcely suggested the beautiful views
of southern seas that were to follow.
Marguerite de la Motte is caught in an
electrical storm whilst living with her
husband, and slit' crashes with the
wrecked machine amidst the tropical
foliage of a desert island. There she
finds a young millionaire who, after a
life of reckless squandering, has isolated
himself in an endeavour to regain his
lost manhood. Placid seas caressing
sand-dunes frescoed with tropical growths
are the picturesque backgrounds of the
subsequent love scenes. And the pro-
ducer has taken full advantage of the
beauty of the tropics to frame his
romance.
Sapphire skies and blue lagoons fringed with the white spray of
southern seas is the setting of Mary Miles Minter's latest picture,
S with "/ Suva. Romance on the silver sands of sheltered coves
figures in this attractive love story. There is a picturesque climax
when John Bowers ("Webster") rescues Mary Minter (" Phyllis
Latimer ") from a midnight feast of cannibals, who are sacrificing
hei "ii the altar of their gods. This scene was taken with the aid of
a full tropical moon, and the effect is gripping in its realism.
There were manv island scenes in The Isle of Conquest that
< harmed the spectator. For Norma Talmadge and Wyndham
Standing evolved their love story on an uninhabited island, with
a simple appeal that blended well with the wild naturalness of
the picturesque scenery figuring throughout the tropical settings.
But that is much of the charm of the South Sea picture the
romantic pleasure that it brings to kinemagoers to see a beau-
tiful heroine wrecked on a desert island Such stories revive
the inherent romance in us all, just as the glimpses of the screen
sunshine that such presentations portray bring passing sunshine
to the mind.
T.oiiisi Lon ly and W Ulian
St tin ' Partners of Fate.'
1C
THE- PICTUR&GOE-R
FEBRUARY 1922
Left : An excellent
real - life camera-
study <>J Flora Le
Breton.
Dainty Flora Le Breton fits the above title to perfection. She
is 5 ft. nothing in height, and the rest goes without saying.
Flora has danced her way to film fame at the age of eighteen,
via " La Poupee " and " The Glorious Adventure."
Two
charming
studies of
I- 1 m a Le
Breton
in
" The
Glorious
Adven-
ture."
It is sweet to be hailed with song.
As I walked into Gaumont's by
way <>i the emergency steps (it's the
quickest way up), a man was torturing
a melodeon, and putting his heart and
soul into: " I know not, 1 liccr not
where I'arydisc may be. Hut I KNOW
I'm in ncxcellcnt Com-pan-ee." Tie
and I had the rain and the whole of
Lime Grove to ourselves. Perhaps he
was right.
\\ hen 1 got inside 1 was greeted
with such a burst of profanity that 1
went clown again backwards, far
quicker than 1 went up. The singer
regarded me with a pessimistic optic.
" It's Hie I laths you want," lie w hce/ed.
" VV'rongdoor. They're exactly opperzit.
People often makes that mistake."
I thanked him and went
round to the front of the
studios and asked for Flora
Le Breton.
The Studio Manager piloted me
across the studio, past a heap of tin
cans, rubbish, and two dust-bins. The
air was still full of bad language.
Honest to goodness, I never knew
there were so many adjectives be-
ginnine; with " B." The " set " repre-
sented an attic Somewhere in Slum-
land. Two men and a pretty coster-
girl were telling the world what they
thought of one another in choice
Limehouse lingo. A small fair-haired
child cowered under the table. " Come
out, Maggie, you — (next five words
censored). " Maggie " came out, and
the heftiest of the two huskies heaved
a kettle of boiling water at her. She
lifted up a Lillian -Gish-like coun-
tenance (and her voice) and wept. So
realistically that they took a " close-
up " of it.
Then the three linguists re-com-
menced full pelt. The assistant pro-
ducer hastily put his hands over the
ears of a small white pup who regarded
the scene attentively. " Might stunt
his growth,'' he_ remarked. The pup
winked,
That's Flora," volunteered my
pilot, indicating the ten-year-old, who
was crying harder than ever. " Not
that one, please," I pleaded. " I
thought Flora was a comedienne."
" So did we."
He left me to think this out. The
biggest ruffian thing another Mood of
adjectives directly at my defenceless
head : the pup growled ; the " Klieg's "
growled and went out ; the producer
mopped his fevered brow, and the
scene was ended. " Maggie " having
pulled herself together, so to speak,
danced off the set, and held out a
grimy little paw.
" Come and have tea in my dressing-
room," she invited ; " and I'll intro-
duce you to my tame bloater. We're
going to use it again later on, and I
have to keep it in a wooden box,
because it's really bad."
" I didn't know you could ' emote '
like that," I began, from the depths
of Flora's pet cosy chair.
" Neither did 1," she laughed. " It's
my very first sad part, and my very
first child part, too. I'm supposed to
be about ten — the ill-used offspring
of a man who steals dogs. He starves
me, you know ; so that I have to steal
food from the dog-platter. He'd just
caught me at it, and was beating me
when the neighbours interfered. Father
and the neighbours just said a few
words to one another and "
" I know," I interrupted. " I've
learned at least half-a-dozen new
' swears ' this afternoon. But I
thought your hair was dark when 1
saw you in The Glorious Adventure."
" It is," said Flora; " look "and
removed her golden halo, in order to
pour out tea more comfortably.
She's right. ' It's chestnut colour ;
and there's a great ileal of it. I
demanded particulars of Flora's screen
career.
FEBRUARY 1922
THE- PICTUI5&GOE-R
]]
•" Short and sweet," said Flora,
Hitting about the room like a cory-
phee. " I was in a revue, ' Bran Pie,'
at the Prince of Wales', playing a
low-comedy character-part, and I went
to a studio one afternoon just out of
curiosity. 'The producer answered all
my questions very patiently, and
then staggered inc by an offer to
play ' Alesia the Doll ' in La Poupie,
which he was about to film. 1 was
delighted, because it's almost a
dancing part, and 1 just adore dancing.
I was only sixteen and a bit, and I
could hardly believe it was true. My
second film was The (Horious Adven-
ture ; then I danced again in Master's
Ta- If a- If a- Boom- De-Ay song film, and
now I'm ' Maggie ' in The Worker.
And that's all there is to tell!" She
subsided upon a stool, and awarded
herself a cup of tea. " La Poupie/' she
continued, " was made in 1920 ; and
then I went back to the stage again.
I'm fond of stage work, too. I don't
know which 1 like best."
" Begin right at the beginning
again," I charged her in my best
" maiden-aunt " manner. She looked
at me for a moment, then stood up
and put her hands behind her in
approved school-girl fashion.
" 1 began," she told me, " by being
one of those horrible inflictions — a
show pupil. They used to sort of hold
me up as an example, because 1 had such
a lot of prizes and medals and things.
But I'm doing my best to live it down,
really I am. Afterwards I went to the
Academy, for elocution and music
and dancing, and my first stage effort
was in ' Flora,' a short-lived musical
show, in which Gertie Millar starred.
Mine was just a thinking part. Then
I took up the role of ' Cherry,' with
Gerald du Manner, when Mabel
Russell retired. That was a lovely
play. The little servant in ' Bran Pie '
came next. It was Frohman who
advised me to take up film work, you
know. I left the cast of ' Bran Pie '
to go to Teddington and make La
Poupie ; and before the film was
Trade-shown, I was in America."
She put in over a year touring with
" The Maid of the Mountains," playing
the soubrettc part Mabel Sealby
created ; and Fred Wright, the ' Hilari-
ous ' of La Poupie, was Flora's stage
husband. They travelled all over
Canada, and part of America.
" But I couldn't see much of Los,"
Flora confided, " because 1 was only
there a fortnight. Perhaps I shall go
again some day. I came home on the
same boat as Mr. and Mrs. Stuart
Blackton, who .offered me the part of
' Rosemary ' in their all-colrtur film,
just before we landed."
We talked about La Poupie, and the
truly wonderful dance in which the
" doll " indulges. Flora gave me an
illustration of how it was done. Her
merry grey-blue eyes became fixed
and staring ; she pursed up her mouth,
and her mobile face assumed the
blank expression of the automaton
she was in that film, as she performed
a few steps of that swaying, terpsichorean
effort that is the cleverest of the many
clever things in La Poup'c. As to the
tiny screen -blossom herself, she was born
in" London, but has (on her own con-
fession) French and Irish ancestors.
Also one ancestress who doted on dancing
and amateur theatricals.
" She would have gone on the stage,"
Flora affirmed ; " but she didn't dare.
In her time it wasn't the thing at all for
girls to do that. So I am the first one to
break out, or break in. Which is correct ?"
As " Alesia " in
the film version
of " La Poupie."
\
— ,-.., ■ v, ._,,...
4s " Rosemary " in " The Glorious Adventure.'
WSP
Pv ■
M it;*' I
> •,
jfri bgtt
£ \9fl
wMW tA
1^^ " ;»-^3
^tfOfl
As" Maggie
The Worker," her latest picture.
Flora had
the famous
bloater in its
cage under
one arm as we
returned to the
" set." " This
is Cynthia," she
said, presenting
a very pretty
befurred maiden,
•"Sal' (Ethel
Oliver), who rescues me
from Father and then marries
him afterwards. This is ' Cosh ' ;
he plays a dual role ; but will per-
sist in eating his disguise. He
loves make-up."
" Cosh," alias Billy Gaumont, a
pure-bred white terrier-pup, shook
hands politely, then resumed his
occupation of chewing-up an clec-
triccable. " Father " (David Haw-
thorne) was rolling up his shirt-
sleeves, preparatory, I believe, to
tackling the bloater.
"I'm a dorg-fancier," he in-
formed me, in a muffled voice. " I
sees a dorg 1 fancies, and I steals it.
' Corse I believe a little of what yer
fancies does yer good. Can't shake
hands, I'm too grimy. And you,
Grannie (to Flora, whose nick-
name this is), bring out your
bloater and we'll start."
"Is it a long scene ? " I asked
Flora. " 1 think I'd rather be off
before you let that bloater loose."
" No, it's quite short," she reas-
sured me, laughing. She didn't
add, " and sweet " this time. In
common candulness she couldn't.
Because it wasn't sweet. At least,
the bloater was very far- from it.
1 fled before it came out of its box.
But I wonder if Flora knows that
Short and Sweet is an excellent
description of her dear little self.
12
THE- PICTU RE-GOE-R
FEBRUARY 1922
KdJ -JfjLD bVEx
nun, it , ,,-
i lr,'in
Che Intimate
Sti angers."
A1
For talented film
woo the sister arts
vet keep their sym-
Tliis combination
work has become
lights of the film
There are occasions
lthough many film stars are emigrating from
the studios to the stage to shine in their
original firmament, unlike the fickle swain, they
are not altogether casting aside the old love and
linking up with the new.
artistes can simultaneously
of the screen and the stage,
bolical households in order
of kinenia and theatrical
popular amongst the high
world for various reasons.
when the wholesale production of films has to
ease up. The world cannot continually go on
assimilating fresh celluloid fare without an
occasional rest. Hence, when the studio arc
lamps are temporarily dimmed, the migration uf
the film stars to the brighter lights of the stage
commences. Also the film studios around New
York considerably reduce their activities during
the winter months. And those artistes who do
not wish to leave the lights of Broadway and
Mke back to Los Angeles for the winter season
prevent the depreciation of their bank balances
by decoying bank-notes from theatre box-offices.
Although Lowell Sherman is flickering across
the screen in this country as the villain in Way
Dawn Last, he is in reality playing a hero's part
in a popular American stage play, "The Man's
Name."
It is difficult to imagine Sherman, whose grim
screen villainies have inspired the hisses of
thousands, {losing as a popular hero Bui that
is but one of the many Gilbertian situations
that at times follow in the trail oi the artiste
who steps from the film studio to the stage and vice versa.
The flaring lights of Broadway at present flicker with
giant electric signs, the names of many prominent lilm
celebrities playing in the theatres. Vivian Martin, the
I ox star, is now in her second season in " Just Married " ;
Ina Claire, who will be seen next May as the bright par-
ticular star of Polly with a Past, now plays a leading part
in the stage success, " Bluebeard's Eighth Wife " ; and dainty
Billic Burke is back in t bo environment where she first
became a public favourite, as the leading lady in the New
York play. " The Intim-
ate Strangers."
Alice Brady, follow-
ing the long stage run
of " Forever After," is
playing with Robert
Warwick, the former
Paramount Artcraft
star, in " Drifting," a
stage melodrama of
coast town life in China.
Alice Brady is a notori-
ous character named
Cassie Cook," and
Warwick is seen as
Pad Lands Mi Kin-
ney," a beachcomber
of the Chinese coast.
So here again two
screen exponents of
sympathetic human
characteristics have
been enrolled in the
ranks of stage villainy
The cast of " Drifting "
is practically composed
of film artistes of note.
William Faversham
has gone back to his
old love, for he is
appearing in " The
Silver Box " as the
leading man. Faver-
sham has spent more
of his acting life behind
the footlights than be-
neath the studio arc lamps. He came to the screen from
the theatre late in life. Appropriately enough, one of his
best known screen successes was in the film version of the
famous stage play, " The Silver King.' Lionel Barrymore
is acting in " The Claw " ; George Arliss is " star " of
' The Green Goddess " ; and II. B. Warner and baire Binney
are bringing crowded houses to see them in the dramatic
stage play, " Danger."
Matheson Lang, who is no stranger to the silver-sheet,
is now playing in London in " Blood and Sand"; and
Alice llradv in
' Forever After.'
FEBRUARY 1922
THE- PlCTUfcE-GOE-fc
13
Honour, S'olxidy's Child,
Damocles, has been away
a considerable period.
Not long ago Peter
screen Adonis, succumbed
to tour the variety theatres
his inseparable company,
horse, "Midget." L'pcher's horsi
With him in mam ol his film
Gilfil's Love Story it was "Midget" lhat accom
plished t In- daring swim through a raying
stream to the rescue of the heroine, who was
Henrv Hull and .Tallulah Ttanhhead in " Every Day."
strangely enough, Catherine Calvert and Otis Skinner are achieving
considerable success in the same play in New York, Marie Doro
is the star in " Lilies of the Field." in the same city; and Klsie
Ferguson, who at the height of her stage career was persuaded to
join the film forces of the Famous Players, has returned to he
former field of success in the theatre drama, " Varying Shores."
In this country also well-known screen stars are migrating to
the stage, whilst winter skies have temporarily silenced the click
of the cameras and the hiss of the studio lights.
Cecil Humphreys is playing in the spectacular production of
Oscar Asc he's " Cairo," and he has dispensed with nis elegant
drawing-room suits and donned the scantier garments of the Fast
with characteristic effectiveness. Clive Brook is now playing in
" Clothes and the Woman," and Milton Rosmer has pleased the
critics with his leading role in " The Rattlesnake." Mary Odette
scored a triumph on the legitimate stage
recently when she appeared with Godfrey
Xearle in Monckton HofTe's play,
" The Faithful Heart.';
Faitlt Bevan, the beautifu
Stoll star, whose last film
appearance was in The River
of 'Stars, is back again behind
the footlights. She is play-
ing in the revival of
"Sybil" at Daly's
Theatre, where she was
acting at the Time when
an astute film pro-
ducer recognised her
talent, and enlisted
her lor the films
George K. Arthur,
who came from the
stage to the screen to
gain fame as the star
in the film version of
hif'f'^, recently joined
the merry parts of enter
tainers, " The Co ( )
tiuusts," at the Palace
Theatre.
One of the first of the prominent
film actresses in this country to return
to the stage was Jose Collins, who. after
a series of photo-play successes that in
eluded The Light That {''ailed, \ Woman's
and The Sword of
from the studios for
L'pcher, the British
to a tempting offer
in a sketch with
us thoroughbrec
has appearei
and in Mr
M
THE PI CTU re E-GOErR
FEBRUARY 1922
OPENING <£ A
By J
W.A.Willi*msor^
^ In tAe>
Lions "De/\D
These metaphors are a bit mixed, but
the article below explains everything.
Our intrepid contributor, who has
undertaken the pious task of humanis-
ing the British Studios, penetrates into
the fastnesses of another forbidden
film citadel, and finds himself
excellent company.
BRITISH OYSTER
Harley
Knoles,
MEM.- See Harley Knoles and
restore to him his nation-
ality," ran the note in my desk-diary —
a clarion call to doleful -duty. So I
bought a ticket: to St. Margaret's,
anil set out to meet my fate.
Now, it is an easy matter to take
away a man's nationality : " The
Thinker " did it in two careless lines
in last month's issue by calling Mr.
Knoles an American. But putting it
back is the very deuce. Travelling
down in the train I had the newspaper
head-lines all cut and dried : " Homi-
cide in a Film Studio. Producer slays
Traducer."
Lightly humming " Dare to be a
Daniel,'' 1 presented my card at the
inquiry office of the Alliance Studios,
and the dread message, " Mr. Knoles
will meet you on the floor," came back
in less than a minute,
Ivor Novello and Gladys Cooper.
John Kelson, the assistant director,
piloted me through a maze of electric
cables, and I found myself " on the
floor " with Harley Knoles, who was
in the thick of a scene for. The Bohemian
Girl.
How does a lamb feel when the
butcher says : " No ! We'll have pork
this. week, and beef next. Mutton is
a drug on the market "; " You don't
know, but / do. Because Harley
Knoles shook me by the hand and
said : " Are you the man I've got a
fierce feud with ? We'll have to post-
pone it, if you don't mind, because
I'm in the middle of a scene."
Yes, 1 was relieved all right, but
disappointed, too. Harley Knoles
sounded so fierce over the telephone
that I had epiite made up my mind
to find in him the realisation of a life-
long ambition. I want very badly to
meet ouc of those traditional movie
directors. You know the men who
bellow at artistes through a mega-
phone and throw scenery at their
camera-men. " Harley Knoles," 1
Producer and fast oj " The liohennan
Girl." Left to right : Constance
Collier, Henry Vibart, Harley
Knoles, Ellen Terry, Gladys
Cooper, A ubrey Smith and Ivor
Novello.
told myself, " is like that."
All wrong. He isn't. Not
a bit like. Harley Knoles
mounted the rostrum to
direct operations, and the
very next words 1 heard him
f mutter were : " Clod bless
you. I don't want you to
kneel yet " delivered in the
sad, sing-song of a parson pro-
nouncing a benediction.
The scene was a gipsy encamp-
ment, complete with caravans and
a goat that browsed contentedly on
a triangular section of real turf, set
amidst the studio " grass." It was a
colourful scene ; the vivid costumes of
the gipsies harmonised so perfectly
that it was apparent that an. artistic
eye had supervised the grouping.
" We'll try the whole scene again,"
announced Harley Knoles. Someone
struck a call for silence on a ship's bell
suspended near the camera, and the
action commenced.
To the slow, sad strains of " The
Rosary" on a piano, Devilshoof "
(C. Aubrey Smith) called the gipsies
to witness the betrothal of " Arline
(Gladys Cooper) ami ' Thaddeus
(Ivor Novello). The Queen of the
Gipsies (Constance Collier) presided,
and a white-bearded patriarch pro-
nounced a benediction upon the happy
pair.
" It is a night scene," Harley Knoles
explained. ' This is the way 1 like to
make them."
More rehearsals, and then the scene
was repeated three times with Rene
Ciiiissart turning the camera crank.
Harley Knoles' super-camera -man is a
difficult individual to please, and many
were the conferences before everybody
was satisfied.
FEBRUARY 1922
THE PICTUR&GOE-Q
eludes Ellen Terry,
Gladys Cooper, Con-
stance Collier, Ivor
Xovcllo, Aubrey
Smith and Henry
Vibart, and many
of the sets in the
film - notably the
ballroom and " mar-
ble halls " are gor-
geous beyond de-
scription.
" I'm out to beat
Carnival," said Hur-
ley Knoles. " That's
my ambition- with
The Bohemian Girl-
to make a picture
that will beat Car-
nival."
If he does, I'll take
off my hat to him.
The Gipsy
Queen super-
vises the
betrothal of
" A r line "
and
" T haddcus."
They went on
betrothing and be-
trothing until I grew
giddy, and so I started
a discussion with John
Kelson on British Oysters and .
the opening thereof.
" We do not get," said I, " the same
co-operation from British studios as
we do from American. Why is it ? "
" Women ! " said Mr; Kelson,
moodily.
1 registered surprise.
Editors send women to the
studios," explained Mr. Kelson.
Women ! Why, a woman came here
the other week who had never heard
of Aubrey Smith ! Women ! "
His voice rang with honest indig-
nation.
You surprise me," said I. " When-
ever Miss Picturegoer goes to a studio
she seems to do very well, indeed.
They give her tea "
(" Come and have a cup of tea,"
interjected H. K. Winston, the Alliance
film editor, at my elbow.)
" And cakes," I added, hastily.
" Ivor Novel lo gave her cream buns,
and Milton Kosmer caviare sand-
wiches."
" We'll see what we can do," said
Mr. Winston, and he lead the way to
his workshop, where we discussed tea,
cakes, sets-, and film-cutting.
When we returned to the studio a
hideous old gipsy hag rushed up and
shook me by the hand, insisting that
she was a friend of mine. 1 was a bit
taken aback till I discovered that it
was only Elsie Prescott wearing one
of her forty faces.
f wanted to smoke a clay pipe,
too," she informed me. " But they
told me it would be an anachronism."
Harley Knoles, resting over a cup
of tea, saw me looking like a Christian
martyr, and pounced upon
" Touching that little matter
my nationality," said he.
" It's a pretty set," said I. " But
don't you "
" You called me an "
" I like the soft lighting effect
and "
" American," concluded Harley
Knoles, firmly.
There was no help for it ; the
music must be faced.
" These things are very annoy-
ing," I agreed. " Owing to my
name, I, myself, have frequently
been mistaken for a Scotsman,
but the law offers no redress
in such cases."
" Not that I mind being
mistaken for an American,"
said 1-farley Knoles. " But I
was born at Rotherham, and
lived forty years in this*
country before I went to
America. I returned to
show what an English pro-
ducer could do in this .^
country, and "
" You showed them,"
I interrupted. " You
surely showed them."
By-and-by all was
forgiven, and we settled
down to a pleasant chat.
Mr. Knoles is deter-
mined to make The
Bohemian Girl another
British photo-play art
sparing neither trouble
milestone in
and he is
nor expense
in the process. The powerful cast in-
And so, having escaped from the
(Al) lion's den, and said good-bye, we
parted the best of friends.
{Another liritish Studio Article next month.)
THE- PICTUR&GOE-R
FEBRUARY 1922
G<XO Mtf n-
In which William Shakespeare Hart indulges in some reminiscences
about the Golden West.
Hill
7' Ihivi
' I "hcii' arc few
I people <>l the
m n v i n g |» i c i ii re
w mid w Im know
nmjv ,il>oui the his-
toid ol I lie Croat
West uliiili they
inhabit than Kill
ll.ni, the man « ho
has i aught t he
glamour and ro-
mance ol the spirit „ , harm ter
ol its past and sketch from liji'-
materialised it for
us (Hire more on the screen.
And it will always be a very pleasant
memory for rnc to recall a certain
evening when Hill yarned and " remin-
isced " on Ins favourite subject, for
my own especial benefit in a quiet
corner of a I .os Angeles " restaurant
de luxe."
The other day I happened to read
in a New York paper of the death of
a certain " Hat " Mastcrson. I know
the name conveys very little to the
average Hritish reader, but it brought
bai I- lo me the memory of that evening
with Hill I larl : so I rummaged amongst
some ol the notes 1 made at the time,
and have pieced together out ol a
in. ins of interesting material some of
the facts Hill told me about a man
who did his bit in making the history
ol the Colden West.
1 remember it all started when I
happened to a k Hill whether he in
vented all his own stories or based
them on actual lact Ik- told me thai
he made them as true to the traditions
of the West as lar as he was able ; but
that main' ol the stones he had heard
from "old-timers" stories which he
knew to be authentic in everv detail,
m<l which would furnish finer
material than any script ever
written would never be accepted
cither by the critics or the- picture-
going public
Hut why ? " I asked in amaze-
ment,
" Because.'' he replied a
trifle grimly, truth is so
frequently stranger than lid ion,
only you'll never get. people to
believe in it. Ill were lo give
them some ol those red-blooded
real-life stories, they'd simply
sneer and say, ' Such things only
happen on the screen.' 'lake, for
instance, the case of my friend,
' Hal ' Mastcrson."
Hill paused to light a " stogie " of
a particularly odoriferous variety, then
settled himself for a comfortable yarn.
" Well, as 1 was going to say, ' Hat
was a sluii II in Kansas m the roaring
days when the corn-belt raised 'bad
men ' and a side line in wheat, and had
achieved a sort of notoriety for its
general state of lawlessness. I think
they made ' Hat ' sherifl because he
not only had the reputation of being
the whitest man that ever breathed,
but also the quickest ' on the draw.'
And, believe me, that meant some-
thing in the days when every man
who valued his life
and his world!) pos-
sessions had to be
a lightning artist in
the use ol Ins gun.
Bat," when he
shouldered the bur
dens of office, lost
no time in announ-
cing his intention
of cleaning up his
district and making
ii into a law abiding
community, It was
not long before he
was the terror of
ev ery outlaw in the
surrounding coun-
try. Being the
sort of guy who
has no nerves to
speak of, and who
doesn't know the
meaning of fear, he
seemed to bear a
sort of charmed life.
Most of the ' bad
men ' boasted they '(I gel him some
day, but it was always ' Hat' who
got a look in first. lie was so fast
with the- trigger, so sure of his aim,
that with a single movement of his
hand he'd wing his man without even
removing his gun from the holster,
" Whether he go1 sort a disgruntled
at the general cussed ness of humanity,
or just flam tired ol shooting ' bad
men,' I'm not in a position to say.
But, anyhow, one day he decided he'd
had about enough of the sheriff busi
ness, so he bought a little ranch way
back in Oklahoma, retired from public
life, and promised himself a well
earned rest.
" Hardly had he settled down to the
new life, when he heard that the ' bad
men ' of Kansas had elected his
brother fid, as his successor, just to
give themselves the treat of 'getting'
Ed., as they'd been so notably unfor-
tunate in the matter of 'getting'
Hat. [('••tilinualonpage jg.)
Cx
mi
* y his ,i
W. N. Hart in
a scene with
his wife, tt'ini -
/red Westover.
FEBRUARY 1922
THE- PICTUREGOE-R
17
SHOOTING
b^ p. russell Tallin son
I^he purpose of the screen, it is said, is to hold a mirror
up to life. It is a pretty thought — an idealistic
musing that one might expect to find inscribed in letters
of gold on flawless vellum in the archives of a Utopian
palace. But you will not discover it written in the note-
book of any film camera-man. Neither will you detect any
inclination to reflect life too close to realities in the methods
of the real live camera-man who has turned handles,
operated irises and changed spools, man and boy right
down the kinema ages.
The art of the camera-man who searches for novelty in
pictures, for which there is an insatiable demand, is to
attack his subjects from a queer angle. He knows that
the average human being has a restricted view of the things
of life. The street that the suburbanite lives in always looks
the same because his eyes gaze on it always on the level.
Take Mr. Jones, of Tooting, up in an aeroplane, and let
him gaze down on Acacia Avenue from an altitude of one
hundred feet, and he will see his " desirable residential
thoroughfare" from an entirely novel and new point of
view. Mr. Smith will tell you that
he is bored by his morning train
journey to the City. He sees the
same scenery every day from the
same aspect. Strap him to the
buffers of the engine of the 8.45 a.m.
and his boredom will vanish into
thin air. He will view the same
scenery as he did from the window
of the " third smoker," but the
different view-point will spell just the difference between
thrilling interest and trifling boredom.
There lies the secret of the art of the camera-man. Through
the medium of his camera-lens he carries your eye to
heights and points of vantage that convey to your mind
a new view of things that grips your imagination through
sheer originality. Here again you have further evidence
of why first-class camera-men are paid four-figure salaries,
and by many producers are treated with a deference greater
than that extended to " stars." The man behind the lens
has to wear a " thinking cap de luxe " when he is working
on a first-class production for the screen. Apart from his
knowledge of the technical side of his business, he has to
co-operate with the producer in discovering those invalu-
able " view -points." Like the Editor who often gets the test
effect out of an article or story by placing the concluding
paragraphs first, so the knight of the lens will often scheme
to introduce " topsy turvydom " into his scenes.
In a recent film serial an incident was introduced that
depicted the hero escaping from a gang of aerial bandits,
by diving headlong from an aeroplane containing the
criminals and dropping to earth by parachute. The pro-
Big-game hunting is a tame sport in com-
parison with the "shooting" of motion
picture scenes. Here are some good stories
of "the man behind the gun,"- — the kine-
matographer whose first and last ambition
in life is to get good pictures no matter
what the cost.
ducer was not entirely satisfied with this thrill. " It's
hackneyed," was his comment. " Can't we strike some-
thing more original ?" he questioned, appealing, as producers
are wont, to the gum-chewing, handle-turning genius who
presides over the destinies of the cameras.
The operator thought a moment, and then a satisfied
smile stole over his benign countenance.
" For a parachute drop you've got to have the camera
on the ground, and you'll have to take a 'shot ' whilst the
apparatus is settling down to earth," he commented.
" Who gets the thrill ? The man dangling on the end of
the parachute, of course. Right. Get your camera off
the earth, and put it where the thrills are being made — on
the end of that parachute. That's the new twist you're
after."
The producer agreed, and so the stunt matured. When
the parachute was loosed from the hundred-mile-an-hour
aeroplane, in addition to the man on the end, there was an
aeroscope camera worked by compressed air also. As the
frail aparatus drifted earthwards the celluloid whirled
through the velvet-lined slots of
the camera as the operator pressed
the button that set the internal
machinery in motion. An extra-
ordinary panorama of the earth was
secured.
It conveyed to the audience with
vivid impressiveness the sensations
that were being experienced by the
hero of the serial photoplay. The
ground appeared to rush upwards with a sensational and
bewildering swirl of fields, houses, and roads. It was a
study of Mother Earth enveloped with a mantle of novelty
that imbued the familiar old lady with a picturesque fresh-
ness. From a height of five thousand feet the ground
appeared like a giant chess board. Then as it approached
nearer and nearer to the lens, the square, trim fields of the
.countryside, the thatched roofs of farmhouses and the
winding buff-coloured ribbons that in reality were the
highways dissecting the landscape became discernible.
And this remarkable feat of "shooting " ended with a
thrilling final rush as the aeronaut reached the ground and
the turf rushed towards his camera and imprinted a
swaying jumble of soil and grass on to the film.
Compared with the mediocre picture of a parachute drop,
this screen study of the emotions attending aviation is
obviously a far greater manufacturer of novel thrills.
Another clever air study that can be ranked amongst
the most novel efforts of the enterprising camerajnan
recently appeared in a screen war drama. A camera-man
flying ten thousand feet above the earth in a military bomb-
dropping machine secured a picture of two high-explosive
THE PICTUREGOE-R
FEBRUARY 1922
bombs being dropped on to a native village . 'the incident
figured in the plot of the story that revolved around the
hero's endeavour to rescue, by means of bombing planes,
a party of explorers who had fallen into the hands of hostile
tribesmen.
A sceptical Governor of a neighbouring province sneered
at the hero's endeavours, and openly accused him in his
club of not having the pluck to fly over the near-by village
and bomb it.
" In twenty-four hours 1 will give you conclusive proof
that 1 have dropped a dozen boinbs on the village," was
the hero's reply to the taunt.
The next day the disbelieving, arrogant Governor was
requested to visit the young man's house. When he
arrived, he found a screen erected in a darkened room, and
a kinema projecting machine.
Hiding his curiosity under a sneering smile, he took the
seat proffered to him, and sat and waited whilst the pro-
jector whirled into its stride.
First a bird's-eye view of the native village Hashed on to
the screen. It had been taken by a him camera from the
bombing machine that a few hours previously had flown
over it. Then a score of flashes were seen as the bombs
fell on their destructive course amongst the squat native
buildings.
Still the incredulous Governor was not satisfied. " How
do I know that those explosions were produced by bombs
from your machine?" he queried. "They could have been
effected by gun lire from the ground."
Under cover of the prevailing darkness the camera-man
winked at the projector operator.
" Show him the second film," ordered
tlu1 hero with a grim smile.
Then an amazing picture flashed on to
the screen. Once again the native village
was shown. The dozen explosions flashed,
and then from each tiny cloud of smoke a
diminutive object commenced to rise. With
relentless speed these mysterious things
rose swiftly from the earth. As they
approached nearer they gained in size.
Onward they came, with a line of direction
straight at the occupants of the room.
The effect was uncanny as they swelled in
size, and soon it was possible to discern
that each of these objects was an unex-
ploded bomb. Each of these vast projec-
tiles seemed to be crashing out of the
screen. With alarming realism they loomed
huge and menacing, and just as they
appeared about to smash into the room,
the whole of the sheet, became a dark,
swirling mass. The sceptical Governor
sat quaking in his seat, with beads of
I irspiration on his brow. His disbelief
had been treated by a clever trick. An
ordinary film picture had been taken of the
descending bombs, and then the negative
had been reversed. The process of the
projectiles falling from the plane to the
earth had been turned into a view of the
bombs rising from the earth up to the
bomb iMcks on the aeroplane. In this way
the uncanny effed of a dozen wicked-
looking projectiles apparently being hurled
at ones head was realistically suggested.
It was the alert mind of Ruth Roland
that conceived the idea of securing scenes
for her new serial photoplay, Ruth of the
Rockies, by having a camera-man strapped
to the cowcatcher of an express train.
Wisely she- argued that everyone was
naturally familiar with railroad scenerv
from the somewhat restricted view ot ,i
carriage window. Hut with the lens of
the camera situated on the forefront of the
engine, with the ever-changing panorama
ot the tugged scenery of the Rockies
swirling towards the apparatus, fresh imaginative pigment
would be applied to an old canvas.
Travelling at sixty miles an hour through a temperature
below zero is not exactly the form of amusement that
would constitute the winning essay in a " How to Be Happy
On One's Holidays " competition. The camera-man who
accomplished it was frozen as stiff as a board. With that
cheery optimism that hall-marks the camera-man fraternitv
he announced that he was so glad that he had been strapped
to the front of the engine, as he was much too numbed to
have ever been able to hang on to his precarious perch
by physical effort.
On occasions icicles gathered on his clothes and camera.
But the pictures were a success. And in the warmth of
the private projecting theatre, when a camera-man sees
his pictures run through, and the murmurs of appreciation
from the " heads " tell him that he has secured successful
" shots," the hardships that attended the taking are
forgotten in the limbo of the past.
For the purpose of blending into a film picture the plot
of which revolved around the exploration of a volcano,
an intrepid camera-man was recently lowered into the
crater of Vesuvius. Secured by intricate tackle, and
supplied with life-lines with which to signal, should he
find himself in difficulties, the man behind the lens dropped
downwards into the evil-smelling pit. He penetrated into
the crater's mouth Lo a depth of over a thousand feet,
where his position was most perilous. Any moment the
lava floor on which he lightly rested might have caved in
and thrown him into the boiling lava, which cackled and
seethed with the clamour of a dozen blast furnaces.
M
Filming wild animals is far more
exciting than hunting them with guns.
FEBRUARY 1922
THE- P1CTU RE-GOE-R
19
David Wark Griffith, although such a master of screen
illusion, often allows his mind to swing in the direction of
practical realities where production is concerned. In
The Love Flower, his love romance of the Southern Seas,
he spurned the best efforts of his gifted studio staff to
portray for the cameras the scenic effects of an underwater
fight. Griffith had decided that in this case materialism
should displace illusion.
After an exciting voyage to the Bahamas, during which
Griffith and his party were lost in a typhoon for five days,
the venue for the filming of the deep sea struggle was
chosen. By means of a special apparatus consisting of
pivoted wooden supports jutting out from motor boats,
the cameras were placed so that the lenses were directed
downwards towards the water. Then Carol Dempster,
who had to stay beneath the surface for one and a half
minutes and struggle with the villain, dived into position.
Crouching like hunchbacks over their queerly placed view-
finders, the camera-men had to focus the swirling forms of
the girl and the man operating beneath the water at a
deptli of eight feet. In the Bahamas the sea is as clear as
crystal, and this made the difficult feat of under-water
filming possible. And to add to the difficulties of this
strange form of filming, a sharp look-out had to be kept
for man-eating sharks that lurked in the vicinity.
The clearness of the finished pictures was extraordinary,
despite the depth of water that intervened between the
lenses of the cameras and the aquatic portrayals of Carol
Dempster and her bedraggled persecutor.
The amazing spectacle of a boat-load of camera-men
with their eyes and noses swathed in respiratory apparatus,
reminiscent of the soldiers' gas mask, was seen during the1
filming of the Path; serial, The Hidden Hand, in which
Mahlon Hamilton and Doris Kenyon played leading roles.
The main scene in the picture depicted a thrilling race
of a motor-boat through gallons of blazing oil that had
been scattered on to the surface of a lake. Ft was a type
of picture that demanded reality bordering on grave
danger. To present it otherwise than in grim reality was
not possible. Two high-speed racing motor-boats were
requisitioned, and for two days expert engineers tuned up
the powerful engines. The fatal consequences that could
ensue should one of the frail craft break down and drift
out of control amidst the inferno of smoke and flame,
made such precautions imperative.
With their faces protected against the smoke, the
camera-men dashed into the burning oil close in the wake
of the craft in which Mahlon Hamilton and Doris Kenyon
were crouching. With their eyes streaming from the
effects of the fumes and smoke, the operators had to focus
their cameras on the elusive, twisting motor-boat ahead.
At times it was swallowed up in the thick smoke. Then
suddenly it would loom out of the mist in perilous proximity
to the craft hurtling in the rear. The climax to this
amazing picture consisted of the hero and heroine diving
overboard into the flaming water. Three times this feat
had to be repeated owing to the difficulties that ensued
in recording it. For almost uncanny judgment was
necessary to keep the lenses directed on the evasive, shadowy
forms that were enacting amidst the smoke a story with
what was surely one of the most unique settings in kinema
history.
Although there is generally a suggestion
of humour in the spectacle of a wild animal
chasing an unfortunate mortal who has,
unwittingly, roused the ire of the beast,
there are some camera-men whose funny
bones adamantly refuse to vibrate when
such stories are retailed.
For pictures in which wild animals are
filmed often produce thrills that do not
appear in the scenario. During the film-
ing of Mary of Magdala, recently, the
kinema cameras surrounded a lion that
was to fight a Roman guard in the arena.
The animal evinced a ferocious interest
in the cameras, however, and eventually
broke through a line of mounted Romans
and charged the operators. The camera-
men ran for safety, leaving behind their
new and expensive cameras. The lion
thoroughly smashed the slender tripods
and the cameras before he submitted to
be led back to his cage by the infuriated
director and his staff.
Some of the queerest aspects of camera
work occur when problems of speed have
to be dealt with. When Rex Davis
appeared in Won By a Head, he rode
Vermouth, the Grand National winner,
in a thrilling race.
The camera men had to race alongside
the course in a car and film the speeds
progress of the thoroughbred and the
rider. Keeping the fleeting form of a
horse in focus under such circumstances
is not the easiest of tasks. Fxploring a
coal mine for scenes appearing in a screen
drama of the mines, was the recent task
of a camera-man. " Sunlight " arc lamps
placed on portable platforms supplied the
light which splayed the dank, shadowed
depths of the underground galleries with
an uncanny glare. Sliding through narrow
crevices on his stomach and dragging his
grimed camera behind him was part of the
day's work on this occasion.
Filming in mid -air has its full share
of thrills. The late Lieutenant Locklear
20
THE- PICTU RE-GOE-R
FEBKUAHY 1 >22
The filming of a thrilling race of a motor-boat through gallons of
blazing oil scattered on the surface of a lake proved a difficult and
dangerous venture.
had two special camera-men who soared after him in the
clouds, and in a companion machine recorded for the screen
the blood-chilling feats of this airman actor. When the
last lilm drama that I.ocklear appeared in, The Skywayman,
was filmed, two holme-led and goggled camera-men, crouching
behind the wind-screen of a hundred-mile-an-hour aeroplane,
operated (lie cameras that had to keep within their narrow
view-finders the swaying, vibrating machine that carried
Locklear.
It was a nerve-racking task. On occasions the wings
of the aeroplanes swung together in dangerous proximity.
When some five thousand feet divides one from solid earth
it is not a comforting sight to see a matter of indies
separating the wing lip of otic machine from another,
with the thought thumping in one's mind that should
they touch, disaster would lie inevitable.
It was during the filming of The Skywayman that I.ock-
lear met with his untimely end. Whilst stunting his
machine before the cameras it nose-dived, and diving at
breathless speed out ol control, narrowly missed ramming
the aeroplane from which the camera-men were filming the
proceedings, unaware that a real lite drama was i. !<i • '
pla< e before their eyes.
Poor I.ocklear was crushed to death when his biplane
smashed into the earth, and became a mass of splintered
spars, torn fabric and twisted wire.
In a sea drama that was recently filmed, the camera-men,
accommodated in a tug-boat, had in one scene to chase
a submarine. On one occasion the submersible dived
beneath the water and. then returned to the surface to
enable the hero to get on board from a frail rowing boat.
An unexpected thrill was added to the proceedings
when the submarine without warning suddenly rose almost
beneath the bows of the tug-boat containing the camera-men.
The bells in the engine-room clanged warningly as the
skipper on the bridge signalled to the men in the stoke-
hold to reverse the propeller and drag 'the ship out of
danger. In the nick of time the blunt nose of the tug
swung clear of the glistening submarine and the camera-men,
who, with their characteristic eye for business, were just
a little disappointed that their lenses had missed an exciting
collision.
One of the most fatiguing forms of " shooting " is that
which entails continual change of position of the cameras.
When an alert film actor is going through a rapid succession
of feats for the cameras, the difficult task confronts the
camera-men of keeping the elusive artist in focus, and
within the range of the lens. Sadie Bennet, when she was
filmed in The Great London Mystery, gave the operators
a strenuous time.' Within the space of a few minutes
she dived off Westminster Bridge, climbed to the top of
a crane one hundred and ten feet high, slid down a wire
rope into a basket, rescued a man who was tied in the
receptacle, and brought the stirring scene to a conclusion
by diving into the Thames from a height of eighty feet.
After that scene the camera-men were bathed in perspira-
tion. By utilising the various levers and handles that
control the directional destinies of a film camera, they had
to swing their lenses from the bridge on to the water,
then up to the heights of the crane, down into the basket,
and then back to the murky waters of the Thames again.
And all the time the picture had to be taken at a uniform
speed, and questions of focus and the correct angle for
the most effective " shots " had to be determined with
lightning thought.
It was the Williamson Brothers who conceived one of
the most novel forms of "shooting," that even taxed the
ingenuity of the versatile camera-man. These film pioneers
invented a cleverly designed diving apparatus that enabled
under- water pictures to be obtained.
The device consisted of a flat-boat-look contrivance,
from beneath which extended a cylinder of large dimen-
sions that carried on its extremity, beneath the water,
a circular chamber in which cameras could be operated.
Plate-glass windows were let into this compartment so
that the lenses could record happenings in the waters
around. Just above the window was a flat " float "
carrying powerful arc lamps that radiated beams of light
through the water, and lit up the surroundings for the
benefit of the cameras.
It was this novel apparatus that enabled a thrilling
picture of an under-water fight between a shark and a
man to be obtained. The mechanism was taken to the
Bahamas, where the crystal clearness of the water, through
which the powerful sun shines, made an excellent setting
for the drama.
At first endeavours were made to secure a native to fight
the shark, but a coloured man willing to take on this risky-
task was not forthcoming. So one of the brothers William-
son filled the breach.
He enacted a thrilling struggle with a man-eating fish
beneath the sea, whilst the camera-men, peering through
the glass window of the diving bell, filmed the details
of this startling struggle.
Thus camera-men work amidst the secrecy that of
necessity veils the intricacies of film production. And
the novelty and thrill that these stalwarts bring to the
shadow-play arc playing an invaluable part in the develop-
ment of the kincma as a promoter of the gaiety of nations.
FEBRUARY 1922
TM E- PICTUR&GOE-R
21
OME U/ITH
The Grand Old Man of
the movies finds that
manual labour is the
best health tonic.
tAome right in and make yourself
y at home."
Theodore Roberts, the youngest
old man in pictures, smiled affably.
His home, on the peak of Vine Street
Hill, Hollywood, is not only beautiful
m itself, but affords a view that is
incomparable. It is a new- place,
recently built according to the ideas
of the actor and Mrs. Roberts.
After a general view of the house
itself, Theodore Roberts led me into
the yard and introduced me to his
Zoo*." Airedale and other pedigreed
dogs, a couple of tame sea-gulls, a
Siamese cat, several other ornitho-
logical and zoological specimens, made
up a very respe< tabic menagerie.
These are all my pets," observed
the actor, with a wave of Ins head.
They're a regular happy family.
You can't imagine the pleasure I act
out of taking care of them, watching
them play and develop as in case
of the dogs - from little shavers to
full-grown and serious-minded grown-
ups
" Animals are a lot like humans
and everyone has a different charac-
ter ; they have their moments of
thought and their moments of re-
laxation, even as you and 1.
A good deal of instruction can
be derived from simply studying
animal life when it is lived without
f " J" 1
ROB
T7 /
p
too many restrictions as
applied by human masters.
Left to themselves, dogs,
cats and birds will develop
unexpected idiosyncrasies;
unexpected characteristics,
and Mrs. Roberts and I get
a lot of real joy from
watching them."
Theodore Roberts is a
.^JM great fisherman. Old
j^ Izaak Walton would
ijjjr' have found him a
boon companion ;
but he has gone
the old philosopher
a few better, and
likes to go after
big and gamey
fish, such as tuna.
Frequently the actor
hies himself to Catalina
or St. Clemente Islands,
and seeks the festive
tuna in his lair.
These are the things,
he avers, which keep him
young. He has worked
hard at his profession —
thirty-five years on the
stage and screen, playing
almost every famous role to which he was suited, and
with great success. His relaxed moments, his home
life, all tend to ward off the encroachments of time.
It was probably because of his fine constitution and
his mental cheerfulness that he was able to come
st) successfully through a recent period of illness.
In Paramount pictures he reigns a supreme
favourite, beloved of old and young. He can
do more things with a cigar than most men
can with a whole cart-load of props. To see
the weed in one corner of his mouth suggests
infinite possibilities of expression. That cigar
simply talks when held between the actor
teeth. Also, in the matter of whiskers,
Theodore Roberts is a constant
source of surprise. He can trim,
shave, alter the general shape and
size or colour of his beard or his
moustache, and be as many dif-
ferent people of as many different
ages. Here is his recipe for health :
The best way in the world
to keep fit, especially for
anyone in professional work,
is to get out in the garden, or
build a chicken coop, or do
anything in the way of real
manual labour. It not only
affords a relaxation, but enables
the worker to exercise muscles
that would otherwise become
weakened bv disuse."
inevitable i utar
of mi
is Thi
'
r i V> ■ur the
. . reward.
22
TME PICTUREGOE-12
FEBRUARY 1922
eformmq
D
ft
Above : Pauline on the porch of her
home. Right : In sporting hit.
Never again will Pauline
Frederick play roles which call
for doubtful doings, for questionable
pasts, and lurid presents. She has shed the
" Zazas," " Fedoras," " Mrs. Danes," and
" Irises " with whom she climbed to fame
as a butterfly sheds it: drab Loroon, and so
far as Pauline is concerned her future lulcs
are to be as sweet as that of Little Eva."
When we met for the very first time, in the
luxurious managerial offices of Robertson-
Cole studios in Hollywood, a small figure
garbed in riding breeches and coat jumped
from a deeply upholstered chair to greet me.
It was Miss Frederick, and she extended a
slim, tanned hand which took mine in a
grip which might be termed a knuckle
cracker. Where I had expected to find a
languorous lady of haughty mien, garbed in
a low and behold gown, the sort of lady who
looks as though she has a past, I found a
blithesome, girlish imp with a Western
frankness you could almost scrape off.
" You are just in time to hear about my
next picture," she exclaimed. " I'm going
to make a real ' Western ' with cowboys
and lariats and a big ranch. I'm so happy
about it I can hardly sit still ! "
Pauline Frederick playing the role of a
Western ranch hound ! Could this be the
same actress who had given us the vibrant
" Iris," the zippy " Zaza," and the dubious
" Mrs. Dane " ? I could remember her in
slinky gown, with narrowed eyes and many
jewels and in the black shawl of the sorrow-
ful " Madame X," but it took a mental
right-about-face to visualise her in the
great open spaces of the West.
"What's the big' idea?" I stammered
inelegantly. " What is it that has worked
this change in you ? We thought you were
an out-and-out N' Yorker, epitomising Fifth
Avenue, and all of a sudden here you are
bubbling with Western enthusiasm minus
all camouflage, and about to play a real
outdoors Western story. What's the answer?"
Incomparable Pauline Frederick has
checked her hectic film past and gone
in for a new type of picture. Allow
us to present some one you have
always known — to be different.
" Horses ! " she replied with
her famous smile, which is as in-
clusive as June sunshine.
There is no doubt about it, cow
ponies have worked a miracle in
* the life of Pauline Frederick. Of
course. Will Rogers has had some-
thing to do with it. Oh, no, she has
^ no matrimonial designs on Will ; he
just taught her how to " rope," and he
plays truant from the studio to come over
and play cow-puncher in her back-yard.
He has been a part of the great Western
ameliorating process which has changed
Pauline for ever from a down-Easterner to a
dved-in -the- wool out- Westerner.
S.t;:: lip rouge, sans powder, sans hair-dress,
sorts every feminine nrst aid to beauty, save
a brilliant manicure, she greeted me with a
cowboy yip-av-aye upon our second meeting.
This was on the day I had motored to her
Beverly Hills estate to see her as she is. She
came galloping across a broad field rimmed
with eucalyptus, and I knew that she was
mistress of all she surveyed, for she has spent
money in California with a lavish hand when
it comes to increasing her private domain so
that she and her hard-riding 'friends would
have plenty of space for their " petit rodeos."
Every day's a rodeo in the life, of Pauline
Frederick now. She staged one for my
benefit that late afternoon of which I speak.
I was carried to the opposite side of the
broad acres adjoining her luxurious home,
riding " double " on a pony behind her uncle
and manager, Mr. Pettingill. Deposited in
the shade of the eucalpytus rim, I found a
seat on an upturned barrel and grandly
ordered the ropin' to commence. In the little
group before me were the men who attend
Below: A glimpse of Pauline's home at
Beverly Hills.
Pauline has
renounced
gorgeous
gowns in
favour of
outdoor
sports suits.
ndl.* ♦i-ssaiiL
FEBRUARY 1922
THE- PICTU[2EGOE-f3
23
Even her vocabulary has undergone a change out West.
She has adopted the 'chatter of the corral, and it falls
naturally from her lips as you see her wearing her natty
little leather " chaps " and her cowboy shirt.
In an attempt to finally settle the reason for this remark-
able return to the soil of one of America's greatest drawing-
room beauties, I asked, as we wended our way toward the
house through the twilight shadows :
" Perhaps some of your family were farmers or Western
ranchers ?
" Yes," she replied. " My grandfather was a farmer in
northern New York State. My family are really of the
soil, but 1 was horn in Boston. My style was cramped after
I went on the stage in N'York, and I became as much of a
drawing-room drone as any of the rest of them there, but
I see now that my heart always longed for the outdoors.
My family was not a stage family at all. I was ' just
a nice girl from Boston,' and then 1 took up the theatre
because it gave me the widest possible scope for the
outlet of my temperament. And now the pictures
give me even a greater horizon,
Pauline Frederick's greatest pleasure, outside of
Straddling a horse, is to spend the afternoon
'} shopping. And is she purchasing ribbons and hair-
nets and perfume and cosmetics ? She is not ! She is
buying bridles and new cinches that will not rub
the ponies' tummies, and chaps and gauntlets. She
only wears one evening gown in her new Western
ranch picture, and her modiste had an awful time
getting her to " sit " for that.
After our " petit rodeo " that afternoon she invited
me, a poor reporter, to " stop for dinner.'' In
town they would never do that, but on a Western
ranch the most casual acquaintance is never turned
out into the twilight — hungry. Of course, one
doesn't accept, and it was with the memory of
|g| hei little cowboy " Aye-yip-ay " ringing in my ears
^?* that I left. Gordon Gassaway.
to the Frederick lequirements in the way of stabling
an'.1 gro ming the wiry ponies she rides, Miss Frederick
hci^elf— and 1 rncle Pettingill. That was all. And
Lhcn biir started to rope. She roped everything from
a barrel to uncle. Will Rogers has taught her
thoroughly and well, and one of her grooms is a
cow boy roper of no small ability. Besides which, she
is at it, they told me, from early morning until dusk.
She doesn't know what the niystic " tea hour " is
any more. And she gets up with the dawn to go out
and see the ponies eat their breakfast grape-fruit, or
whatever it is with which they feed cow horses.
Western winds and California zephyrs are sweeping
the memories of a rather hectic career from the fair
Pauline's mind. She is through with vicarious mar-
riage, with late parties and with Society snickers
and snickerers, her uncle confided to me as we sat
on adjoining barrels and watched the " Mistress of
Shenstone " toss a snaky spiral of rope about two
horses as they galloped abreast across the field,
abhors the sight of a newspaper. She feels that all news
sheets are enemies of hers.
" They never print anything nice about me," she said
later as we perched atop the brick wall which separates her
" rodeo field " from the magnificent gardens of her home.
It is only the unhappinesses to which they give space.
I have no time to read them now. My horses and the pic-
tures take all my time."
" Are you going back to the stage ? " I asked rather
fatuously, since this has been a moot question for some
weeks in Hollywood anent the penitent Pauline.
I can go back on the stage with a sixty-day notice to
my company," she replied rather seriously, I thought, " and
if 1 can find a rip-snorting good play, there is no telling
what I might do. An animate audience affects me like a
herd oi raitle affects my ponies — I'm rarin' to go ! "
Left :
Pauline
Fred-
erick's
living-
room.
Below :
The
guest
room.
24
THE PICTUI5&GOE-R
FEBRUARY lVz,
/>' ,'<" ' ihlnirn is happiest
v hi ■ iicn fireside.
I ,,
i»«l]V
Bryant Washburn is an actor
who doesn't act. His off-
stage personality is almost the same
as that he has manifested on the
screen. You like him, no matter
if you have just met him, because
his is the same ingratiating manner,
the same lissom smile, the same
personal warmth, the same jolly
insouciance that you've seen so
often before in pictures.
There were innumerable Jewish
" types " wearing odd make-ups on
the glass stage at the Goldwyn
studio when I chanced to meet
him. Everybody was waiting for
a call from the director. Many
women and a Mock of children sat
idly by behind the camera lines
chatting among themselves : some
of the women sewing, others
attempting to read magazines,
others just sitting, talking to the
children. It was a scene for the j\jr and Mrs.
new story, Hungry Hearts, in Washburn at
which Washburn is taking the home.
leading role. It recalled glimpses
of Zangwill's Ghetto, of Mary Antin's
" promised land,'' of New York's East side.
Atmospheric, colourful -all to be recorded on
the film.
This picture is undoubtedly the most im-
portant dramatic venture as yet made by
Mr Washburn. It will give him a chance to
ad rather than merely to essay a series of light-
comedy situations. His make-up revealed him
as a person whom we have not seen before —
although underneath the grease-paint he remains
the same bubbling, ebullient soul, the same Bryant
ili.ii we have known since the days of Skinner's
lit, ss Suit.
Even though I had known Mr. Washburn less than
a week, his attitude made me feel as if. perhaps, we had
been lifelong friends. That is one of his characteristics •
making people feel at ease His smile is made all the more
pleasant by the dimple in his chin. His eyes reflect mirth.
'"•\ are dark-— the same colour as his hair — a dark brown.
^reeJXeasom
urn
When people chaff Bryant Washburn about
being d omesticated, he always retorts that he
has three reasons fo c being a home-loving soul. All three
" reasons " appear in the picture at the bottom of this page.
He is a typical romanticist. A good ex-
planation of " why-girls-leave-home." I
remarked about this. He laughed and
seemed surprised.
" But I'm very much of a family man,"
he said sparklingly. " They say
I'm an ideal husband and father.
There are just three reasons why I
happen to be a home-loving soul —
and when we get home I'll show
them to you."
Of course, his wife is the most
important of the " three reasons."
She is a lovely woman, with hair
and eyes a shade lighter than her
husband's. Once she was an
actress. In fact, Bryant met her
and wooed her at the studio a few
years ago in Chicago. She is full of
life, and high-spirited. Marriage and
motherhood has only increased her
happiness. Yet she looks too young
to be the mother of two big boys.
I would have taken her for a
9 Bryant
Washburn
a n J his " three
>, aunts." His
wife, Mabel Forrest,
Did their two children.
FEBRUARY 1922
THE- PICTUf3&GO&R
25
high-school girl. The other " two reasons " for Washburn's
home-loving proclivities are his sons— both healthy, robust,
typical Yankee lads. Sonny, the elder, aged seven, is prankish,
and, according to his father, the terror of the neighbourhood.
I was convinced of this when he came home from school -with
signs of a recent fistic encounter still showing on his face. One
eye was bruised.
" But you oughta see the other feller ! " he remarked, in
defence. " He has two ' shiners ' ! "
The baby is one of these age-old children — quite fond of his
" home brew," which is the name Sonny has given his milk.
Of course, Washburn's is the typical paternal attitude; he is
going to make athletes of them both.
In his high-school days Washburn was quite an athlete him-
self. During his last two years he had a record in both track
and basket-ball. He still plays the latter at gymnasium. A
Los Angeles athletic club sees him regularly in training, or else
exercising in the swimming pool.
If you'd happen to be around the Washburn home some
evening you would perhaps be surprised to see a dignified-
looking young man, Washburn pere, romping with the boys on
the lawn. Both of them regard him more or less, he says, as
a, useful sort of hobby horse who has no bad habits. Part of
his routine is to ride them on his back.
" Golfing is the only other pastime I get to take part
in away from home," added Bryant. " Ever since I
came back from England I've been a regular golf fiend."
I asked him about
his occupations in early
life. Did he intend
being an actor ? Strange
to say, he admitted
that he's always wanted
to act. I say, strange
to say, because the
majority of film stars
usually mention how
they were literally
roped into the kinema.
But Bryant holds no
such illusions.
" I went on the stage when I left school," he
•declared, " and played dramatics and in stock
with that eminent actor, George Fawcett. It
was a lot of work, but it was fun — getting
started."
At this juncture Mrs. Washburn interrupted.
"'Hubby used to be quite a dare-devil," she said.
"For instance, he was walking down the street
one day with a fellow actor. Both became very
much' disgusted by a man in front of them on
the pavement who was trying to sing. Bryant
made a wager with his friend that he could kick
the singer and get by with it. The bet was
made. Bryant administered a healthy kick,
and the stranger turned around angrily and
demanded an explanation.
A game
with the
Middies.
home.
&&J&£^&y^z?>^f'
" *Oh, I beg your
pardon,' said Wash-
burn perfunctorily to
the man ; ' but I
thought you were my
friend Caruso.'
"The 'singer'
smiled and walked
away. Bryant col-
lected his bet."
Washburn's success
on the screen was rapid.
It was barely half
a dozen years ago that he started in
pictures by playing minor parts at the former
Essanay company in Chicago. Last year, when
his Lasky contract expired, he made a trip to
England to film his own production, The
Road to London.
"England is charming!" he reminisced.
" One of the most fascinating countries !
The most beautiful natural scenery I've
ever seen ! Conditions there are excellent
for picture-making. In America we don't
have sufficient ' atmosphere,' and have to
depend too much on manufacturing it. In
England, however, it lies just outside the
studio door."
' The British climate, too, isn't really so
black as it pleases Londoners to paint it. We
were over rather late in the summer, and
though the sun tried its best to dodge us, we
managed to get the picture done before the
leaves began to fall. Some days we get as
many as twenty-seven scenes ; some days
none whatever. Those we took in the West
End of London were the most exciting ; we
hid . the camera in a big motor-lorry, and got
some wonderful ' shots ' of Piccadilly Circus.
And I nearly made that film my last one, for
when I was driving my car through the Admiralty Arch,
Trafalgar Square, at a good forty miles an hour, a taxi sud-
denly dashed right in front of me. We collided, of course,
but it didn't damage me any, only lurched in the side of my
car. It came out great in the film though."
While he was in London, he said, he made several personal
appearances at theatres.
" Even though I've lieen given tremendous welcomes in
America, the Londoners gave me a greater thriH. I look
forward to the day when, with Mrs. Washburn, I can again
visit London, where I may eventually be able to live."
ryant and his wife
in their garden.
THE- PI CTU RE-GOE-R
FEBRUARY 1922
Rubens was born at San Francisco, and commenced her screen career
in
\ lma r
A Triangle pictures Her biggest film success was in Humoresque. Other
^turls in whic^he has appeared le The World and His Wrfe, The Govn of Dest.ny
Judith, The Ghost Flower, and Find the Woman.
FEBRUARY 1922
THE- PICTU RE-GOE-R
27
Even those who knew EiJle Norwood's reputation as a master of make-up were
amazed by his wonderful delineation of Sherlock Holmes, which takes rank
with the screen's finest character portrayals. He has been equally successful in
costume drama, for his work in The Tavern Knight has won him thousands of admirers
28
THE- PICTUREGOE-R
FEBRUARY 1922
Juanita Hansen is so beautiful that it is not surprising to learn that Mack Sennett
found her first. After playing in Sennett comedies, and opposite Jack
Pickford, Juanita became a serial star, and won world-wide fame in The Lost
City and The Phantom Foe.
FFJRUARY 1922
THE- PICTU RE-GOE-R
^>
I^reckle-faced Wesley Barry owes much of his screen success to the careful coaching
of Marshall Neilan, who discovered him and gave him his first chance in
Daddy- Long-Legs. Wesley, who is not yet fifteen, is now being starred
Marshall Neilan's production of the Penrod stories by Booth Tarkington.
in
30
TH E- PICTU RE-GOE-R
FEBRUARY 1972
Handsome Herbert Rawlinson was born at Brighton, but emigrated to Canada
at the age of thirteen. He was successively farmer, circus-hand, sailor,
factory-worker, and stage-actor. Then he joined the first Selig stock company, and
has been a movie player ever since, appearing in a large number of screen successes.
FEBRUARY 1922
THE- PICTUWbf-JUtrk
i
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THE- PI CTU REGOE-R
FEBRUARY 1921
MoviePin tfe^V^ldn<J
hy Gertrude M .Allen
If THE LEADING LADY
The second of a series of Behind the Screen articles, being
intimate glimpses into the work and personality of all
those connected with the making of a picture - play.
\ i j ma Taltnad.
lie
She is young, and <>h ! so beautiful."
She is adored l>v the multitudes whom
has never seen the multitudes who have never seen
her, but who worship at the shrine of her shadow.
And her life ? I >oes she sleep on a bed of pale pink
roses, quaff champagne from golden goblets, dance to
sweel symphonies, and roll over life's roadways in a
luxurious limousine? Maybe, she does some or all
of these things sometimes Her cheque-book should
open the golden ^ales to luxury and contentment.
Hut she docs none of these things all the time Life's
alphabet spells much the same thing lor her as it
doe-, lor her sister in the factory, the workshop, the
store, t he office, i iv t he in ime.
She has < [imbed up every rung of the in ketv ladder
that, leads to fame and fortune She has worked
still works through the appointed hours of the
workei Vncl sometimes she is still working when
you are seeking rest in the arms of Morpheus.
Come walk beside tins Oueen of the Screen for a
typical day in her career, and then. . . .
Slu is up with the lark if he favours her
bourhood without him, but just as soon,
doesn't.
A surreptitious peep through the drawn
curtains. Yes, the sun has consented to get
up too, and so she knows that pi, ms made
yesterday will mature to-day. and she will be
called on to appear in tiie scenes to be
photographed.
She is at the studios by nine a.m. One of
the main- penalties <.f lame is the inevitable
stack of letters she must open and determine
how to answer when the sun fades and she
is free once more. There will be the usual
motley oi correspondence. Scores of letters
from the four corners of the world some
eligible, some distinctly uncertain, will be
sure to contain the same request, written in
various degrees of ardour.
You are my favourite actress. I think
i ■ beautiful. I should love a photo-
nci
if
autographed one -
paper, which begs for
And the pathetic little note, on greasy
any of the old clothes yon won't want any
more My mother is an invalid, my father is in prison, and I havi
a crippled -brother and a blind grandmother to support."
Then the girl who is " dying to act for the- films. | have (air
< urls (like Mary Pickford), blue eves, and am sure I should make a
good screen actress. I like your work very much, but 1 think I
could do just as well as von, if somebody would give me the < liance.
Will you please do your best to yet me on to the screen
Hut she must not get too enmeshed in this web oi curiosity,
pathos and conceit. She has to be " on the set " at 9.30, and has
still to make-up and dress for her role. So she discards her own
little morning dress, and proceeds to convert herself into" the Lady
Angelina, daughter of the Duke of Doddington." Her dresser will
help her with the transformation, and at 030 she is in the stu lio,
clad in the priceless silks and velvet that it is the function of the
Lady Angelina " to wear.
After a morning's work, which has, perchance, been of the
straightforward and (because of tier competence and the absence
of " supers ") easy kind, the sun decides to shed an extra brilliance
upon the face of the earth.
Half an hour for lunch, and then exteriors !
So decrees the producer, and the leading lady will divide the
hall-hours grace between the consumption of sandwiches and tea.
and the change to another frock. She is privileged to know the
. - . pre-arranged pro-
- *">*■* gramme, so this
time
she dons a
le little dark
mtinuai "»i pagi f>o
Tin blue gown
slit is making
with hi 1
;i 11 g 1 rs
posed by Uui
I >rrest.
Taph <'i you. Will you send me-
an
FEBRUARY 1922
THE PICTU R EGOE-R
IT
Hortense Bodamere was both too young and too beau-
tiful to remain a widow fur long. So that when
Ostend looked and saw her every morning on the beach,
every afternoon in the gardens, and every evening at the
tables, with Elton Reeves — who was not only a handsome
American, but an astoundingly rich one into the bargain —
Ostend made up its mind. So did Elton Reeves. The
rest was a matter of time, and of a very little time, too.
This was in 11)03. Jeanne Rodamere was four years of age
at that time. Her mother, the widow, was twenty-two.
" I wish, " said Reeves, as they sat upon the sands one
morning, Hortense embracing Jeanne, " I wish that your
maid could be trained to take proper care of the child."
Why ? " said Hortense. " It
is only for a moment or two. I
don't suppose we need see
Jeanne more than once a day."
" So long as she does not
spoil the honeymoon," mur-
mured Reeves. " Children are
very well in their place, but
their place is not everywhere."
The mother instinct sat
lightly upon the shoulders of
Hortense Bodamere.
" Of course, we shall leave
her behind," she consented. '
When the time came, therefore, they left her behind,
going forth into the future hand in hand and unencumbered.
" Mummy is forgetting me ! " cried little Jeanne, as the
door closed, and with her on the wrong side of it. Then
the child burst into tears.
" Some day God will make your mother remember and
punish her," said Marie. Marie was the nurse who, in the
eyes of Elton Reeves, was untrained in the art of taking
proper care of a child. But in these amateur hands the
child had been left. Marie was a Belgian of thirty, and
knew, perhaps, a few things that were beyond the vision
of Elton Reeves.
" When will Mummy come for me ? " asked the child.
" She says in a month," replied Marie, gently.
CHARACTERS
Elton Reeves -
Marie - - - -
Jeanne -
James Brewster -
Margaret Brewster
Billy Boy - -
Narrated by permission from the Allied Artists' film
of the same title.
" Is Q month a long time ? "
This month was a very long time. Marie was married
and settled on a farm far inland, and Jeanne was growing
up and calling her Mamma Marie, with no memory at all
of the luxurious Mummy of the Ostend sands, before the
month came to an end.
Jeanne was nine, and the greatest " sport " in the
province. By the lane side, outside the farm, was a pond.
The villagers saw her fishing here every day in summer.
They stopped to watch, and to laugh. It was the village's
chief amusement for one whole summer. " Come, quickly !
Jeanne is fishing ! " For the fish was caught many times,
the same fish, long after it was bought (or stolen) from the
shop of Fishman Jules. Jeanne's
angling method was unique, if
not artistic. She tied the fish
to the end of the line — which
was used sometimes for the
washing — and drooped it into
the pond until the time came
that she decided it had bitten.
After the catch it went back
for another — a hundred others.
Marie had not taught Jeanne
economy for nothing.
One day Marie's husband
met the postman at the gate
and came into the farm with a letter from abroad.
It is from mistress," cried Marie ; " she will be in Paris
on the seventeenth, and is coming for Jeanne. After live
years ! She will come for Jeanne ! "
" God's will be done," sighed the honest farmer. " It
will be hard to part with the child."
" Part with her ! " cried his wife. " Part with her — with
little Jeanne — with my Jeanne ! Who is saying such a
thing ? "
' There is nothing you can do," protested the man.
' There is this I can do," retorted Mamma Marie: " 1 can
make sure that she goes back to her precious millionaire
without my precious Jeanne. No ! A lie is sometimes
an honest thing. Jeanne shall stay with me.
- Wilfred Lucas
Helen Raymond
- Mary Pickford
A. J. Menjou
- Elinor Fair
John Harron
36
TWE- PICTUR&GOE-R
FEBRUARY 1922
Jeanne was nine, and the greatest
"sport " in the province.
The clay came round, and on its morning Jeanne was
sent across the country to help a neighbour in the care of
her cottage. Mrs. Reeves arrived to find Marie alone.
You are looking well, Mane," she gushed. " And how
is Jeanne ?
" You promised lo write," faltered Mane. You pro-
mised to come for her, You did not write; nor did you
Come. Not having your address I could not write to you."
"Write to me? Marie! Look at me is anything
wr< >ng '
" Jeanne
" What ? '•
" — is dead ! "
" Dead ! " The woman sank back upon an ancient oak
chair, stunned and sobbing. She looked up through her
tears at the old nurse, unable to speak, dabbing her eyes
with a handkerchief as line as money could buy. Marie's
belief was that the society butterfly had a small, shrunken
heart left somewhere. Small and shrunken. Nothing to
matter.
Mrs. Reeves spoke.
I must see the grave before I go."
But Marie was no fool.
It was the river," she said. " We never found her.
It was one night in winter, when the stream was at the
flood. . . ."
The elegant Mrs. Reeves returned to America childless.
She fretted a lot and cried more than it was pleasant to
see ; but take it all in all, Elton Reeves was not displeased
by the development.
The years passed. Jeanne's frocks and her hair grew
longer. Marie and her husband grew older, too.
And the world itself seemed to take on a wrinkle or two.
There came a day when the lane outside the farm gate was
filled with tired men and women, fleeing with wreckage of
their homes from an iron heel. The autumn ot 1914
passed, but the ghastly human stream seemed endless.
" The girl's place is with her mother," decided Marie.
" She must go to America."
She communicated the news to Jeanne, telling her the
truth for the first time.
" And here," she said, " is a confession telling your
mother all and explaining my action. The good Father
Barrard has witnessed it ; the Church testifies to its truth.
Give this to your mother and ask for her forgivenness for
me."
" But, Mamma Marie," began Jeanne, and then hesi-
tated. " You will come with me ?
" I shall come to you when Belgium no longer needs her
daughters," replied the faithful Marie. "Go now; and
God's blessing be with you."
There were tears and many embraces, farewells, and
halting returns that no farewell might be the last, and
then the last good-bye was said, and Jeanne was one of
the ghastly human stream that seemed to have no end.
She was two days getting to the port Her ticket was
in her hand, and a little money— more than she thought
was in all the world — safe in her little shabby purse. On
the morning of the second day she found two tiny fugitives,
two friendless little boys, weeping by the wayside. One
was six years old, the other four.
" Mummy went to sleep down the lane and she wouldn't
wake up," said the younger.
" We have lost her! " sobbed the " big brother."
Jeanne smiled a little wistful smile.
" Well, I have lost my mummy, too," she rid. " I
know ! . 1 will be your mummy !
" Thank you," said the big brother. Conrad, come
along with our new mummy."
And so when Ellis Island. Xew York, admitted Jeanne,
not with open arms, but grudgingly, with a kind of un-
spoken protest, she was not so friendless as some of the
other Jeannes around her. She entered America by the
back door, but she brought her family " with her.
The Reeves' Fifth Avenue home was still boarded up
for the season. Summer lingered oddly on Long
Island and the Elton Reeves lingered with her.
" What d'yer want with em, anyhow you ! " sneered
the caretaker.
" What do I want with them ? " repeated Jeanne.
" Why, what do you think I want with them, you sour-
faced, nasty — Mrs. Reeves -Madame Reeves, is it ? I am
a stranger to her — she is my mother . '
" Cut out the funny stuff ! " roared the caretaker : " less
you want me to have the cops around for blackmail. I've
seen your sort before. Like daisies in a field ' "
" Why can't I have Madame Reeves for my mummy ?
asked the innocent Jeanne.
FEBRUARY 1922
THE- PICTUREGOE-R
" Go on with you ' " said the caretaker, threateningly.
" Cut out the funny stufl and hop along."
Jeanne hopped along, wondering vaguely why she could
not have her mummy for lier mummy. It seemed unfair.
Why should I he horrid police be called, just because she
had come to her mother ?
She trudged away, her " family " after her. Late in the
afternoon she was " home."
" Home " was a. commonplace of the Long Island shore ;
but it staggered the imagination of the girl from the Belgian
farm. The law ns I The unbelievable terraces and gardens !
The - the look of the thing '
And there was simply the most bewildering motor-car
that was ever made standing at the very gate. And this
beautiful man in this wonderful dress. A great man -oh,
a wonderful man ! A prince ? Or, perhaps, he was a
king ?
He was only a butler, and none too civil.
" What do you want ? " he demanded.
lie was so wonderful and so beautiful that poor Jeanne
could barely find the words to address him. A lady, even
more beautiful and dazzling than the beautiful and dazzling
man, came down the steps from the finest terrace, and stood
with little patience beside the car.
" 1 want Madame Reeves, ventured Jeanne at length.
The beautiful lady spoke. But nol to Jeanne. To the
beautiful man. She did not call him " Your Highness
She called him Johnson. Jeanne was of the opinion that
the lady, though beautiful, was rude.
" N'ou know very well. Johnson, that I must not be
troubled with these charity children. Take them to the
kitchen and feed them. Don't bother me."
And the dazzling Mrs. Reeves ascended to her moving
throne and rode away.
" Anyway," thought Jeanne, as she grasped the
" family's " hands, a feed will be a good idea, while we're
waiting. And she made for the terrace.
'.' Not that way for you." commanded Prince Johnson.
" Sou come round the side and in through the back door."
So Jeanne came home through the back door. The
kitchen found her vastly entertaining, and the " family "
two small but priceless jokes.
" Your own ? " asked Prince Johnson.
" My own," she replied, gravely.
Prince Johnson winked solemnly at another imperial
personage. Then there swept across the room a great
personage who looked like a grandfather angel, but was
really a coo
" Out of it, all of you," he roared
alone." He turned to Jeanne. " Oh,
beautiful words and tones and accents
She stared.
"I, too, am
the Helm-," he
beamed.
They shook
hands and
laughed and
embraced.
" My mother
is here," said
Jeanne. " I
must see her :
Mad a m e
Reeves."
Leave the girl
the language, the
" Ah." smiled the cook, who didn't believe her. Belj
not ; " 1 am afraid that is impossible. Bui I tell you what
I can do," he went on, seeing the shadow that crossed hei
face ; " I can give you work. 1 have full control. You
can be a parlour-maid."
It was the first bright idea that she had happened upon
since her arrival. Hut there was the " family '.
" 1 will hide them in the loft ! " laughed the cook, and
so it was settled.
T'he family took a good deal of hiding. They objected
to the loft. They objected to the kitchen. They
objected to pretty well everything. Two things they
swore by : fun and freedom. The first evening saw them
making off through the gardens for the freedom of the
woods, ami the fun of anything that chanced to be around.
" My ! " exclaimed Jeanne ; and she tore oft in pursuit.
The way led to a high road, but between this and the
woods was a delightful puddle. The " family " voted the
puddle a great idea. Jeanne, when she tell into it was by
no means so sure.
And there was an audience.
A party of the youngest of New York's .best was riding
by on some of the best of New York's thoroughbreds.
Their verdict was that of the " family's
The thing was a joke. They laughed. Except
one.
This one, known to his friends as Billy Boj ,
sprang from his saddle and rushed to Jeanne's
assistance.
You are not hurt ? " he asked.
" Oh. no," she gasped.
Now, if you want these
young rascals
thrashed," he
suggested with
a smile.
" No, no ! "
s h e cried.
T h e v a r e
mine."
" Yours ? "
" Yes ; 1 found
them."
" Oh ! " He
laughed a gay
lugh. Then
he sat beside
ler on a log,
and they talked.
" I know what
38
THE PI CTU RE-GOE-R
FEBRUARY 1922
will keep them good," he suggested. " A basket of cakes
and candy ' I'll help you smuggle some in to-morrow."
And in the end he "saw her home." But it wasn't the
end, really. He saw her every day. And that wasn't
the end, either.
The Elton Reeves were famous for other things besides
their family disagreements. They were famous for their
Saturday to Mondays. Everybody who was anybody
an-led for .1 Saturday to Monday at the Reeves' mansion.
They were always certain of enough scandal to last from
Monday to Saturday. The Brewsters, James and Mar-
garet, "had not missed a week-end for years. Margaret
was young and beautiful. James had wits, and existed
upon them excellently.
This week-end pressure of business did not prevent his
customary visit. Jt was pressure of business that brought
him.
" Don't forget. To-night," he whispered to Margaret.
" Trust me," smiled the girl.
When evening came, Jeanne executed
her long-deferred plan of bringing Marie's
letter to the notice of her
mother. She slipped into Mrs.
Reeves' bedroom and
laid it on the dressing-
table. Unfortunately
. there was a strong
wind blowing. And,
unfortunately, the
letter was blown into
the w a s t e - p a p e r
basket.
The way that Jeanne
figured things out, Mrs. Reeves just didn't want her
daughter back again. Else she would have spoken during
the evening, after getting such a letter. Very well. Jeanne
knew what to do. Nothing. Remain a parlour-maid.
There was a beautiful scene that night. Something that
would last a good deal longer than the usual Monday to
Saturday. Elton Reeves kissed the beautiful Margaret
Brewster and- -Mrs. Elton Reeves was a witness. As one
of New York's chattiest remarked, " The fat was in the
fire."
" Once Margaret's dear brother Jamae hears of this . . . '
Yes, the fat was in the fire. Margaret fled from the
room. Brother James Brewster was, fortunately, no-
where to be seen. Mrs. Elton Reeves followed Mr. Elton
Reeves to privacy, and an explanation.
" Either that woman leaves this house or I do," she said.
" Very well ! " stormed Reeves. " If that's your
choice. ... I have compromised the girl and must make
amends. It is your own fault. Your confounded snivelling
has driven me to this. Your child is dead you should
have forgotten her, and remembered you had a husband."
That 1 can never forget —now, " she replied. ' \'oit
have chosen. Good-bye."
Jeanne's duties had taken her this evening to the bed-
room of the beautiful Margaret. When Margaret and
brother James flared into the room Jeanne was behind in
the clothes cupboard. She stayed there, closing the door
and opening her ears.
Ten minutes later she stood before 1 er parting master
and mistress.
" I have heard ! " she panted. " I —I— the Brewsters
are not brother and sister. They are man and wife. They
did this to — to blackmail master ! They
Reeves stormed away for a horse-whip and an explana-
tion. Mrs. Reeves turned aside and collapsed upon her
bed. Sadly, Jeanne looked at her.
" Did you — " she began. ' Leave me,'1
sobbed the miser-
able wife. ' I
must be alone."
* 'ted on fagt 60.)
The si ruaiils found
Jeanne vastly enter'
taining, <>>;d her
■ • la),: ; I 1 small
but priceless jokes.
" Your own ? " asked
e p body. " My
'.■■::,' replied Jeanne
gravely.
FEBRUARY 1922
THE- PI CTU R&GOE-R
39
Canqpressed Careers
no. 2 Norma Talmadcre
()„<
ice upon a morning dreary, Stuart uiacicton, very weaij
called his company together out upon the studio floor.
Final scenes and " close-ups " taking for the picture he was making.
('Twas the famous Dickens story of the days of '94, and a far, far,
better " feature " than they'd ever made before, in those movie
days of yore).
He'd five actresses " evicted " from that incident depicted of
the hero and the seamstress in The Tale of Cities Two ; time and
patience fast were flying, " Carton " had grown tired of trying to
complete his task of " dying." Half the day was nearly through
Stole a timid little figure into the director's view : " Let me be the
seamstress, do." And a pair of eyes magnetic, large and brown
and sympathetic, emphasised this shy entreaty of a girl he'd
scarcely seen when his practised glance detected that her mobile,
unaffected, striking beauty made her eminently suited to the
screen. (In a few Belinda comedies for Vitagraph she'd been,
and her age was " just sixteen.")
Then, whilst everyone applauded, her persistence was rewarded,
and the role, small, but outstanding, Stuart Blackton let her play.
Next Leo Delaney prayed he might have her for leading lady in
A Daughter's Strange Inheritance. They cast that film next day.
As the heroine seemed made for Norma Talmadge to portray,
they let Leo have his way. Though to star was her ambition,
Norma loved her new position ; many happy months she worked
on and achieved a great success. Then Triangle put forth " feelers."
In a series of five-reelers, and a very tempting contract, ottered
stardom — nothing less. Would delightful Norma Talmadge change
her studio address ? Norma Talmadge answered " Yes."
So, in Martha's Vindication, she enhanced her reputation :
people raved about her beauty, grace, and versatility. In The
Social Secretary, Going Straight (a good one, very), Missing Hunk
Notes, Children in the House, her charm and sympathy brought
this gifted little lady wealth and popularity. Loved by everyone
was she. When her Fine Arts contract ended, though Triangle
felt offended, little Norma said, " I couldn't sign another one,
I fear. Now I'm married, goodness knows if my dear husband,
Mr. Joseph Schenk, who part-owns Select-Selznick, will not star
me in Panthea. Sister Constance, too, will shortly have to follow
me, 'tis clear that I cannot leave her here."
Norma's time has since been taken up with Law of Compensation,
De Luxe Annie, Ghosts of Yesterday, Forbidden City too. In her
long and strenuous screen-life, I am certain she has been wife to
some scores of fascinating movie fav'rites old and new. From
her lengthy list of film-plays I must needs omit a few. But her
last one's Snulin' Through. This had quite a pretty Story, and in
flashes " showed the glory of the old-time ballroom dances of
the nineteenth century. Little Miriam Battista played the heroine's
small sister, Wyndham Standing was the hero ; ail New 'S ork
society said they felt extremely sorry that no more of her ilicy
see. Now the whole big company have gone off, not " on
location," or to take a short vacation, but to work in California
in Norma's newest play. Hollywood, 50 pleased to greet her,
sent its Lord Mayor up to meet her with a present of a golden
key ; and all along the way little groups of famous favourites had
all come out to say, " Hope she'll make a
lengthy stay."
Though she's only five-and-twenty, she's accu-
mulated plenty of " fan " mail, and gifts from
Overseas admirers by the score. Norma gets
these things in showers. Some send diamonds ;
some just flowers. How I wish the Gracious
Powers would send me another store of new
words. My stock's exhausted -every rhyme
I've used before. Still, the page is overflowing,
though my thinking-gear is sore, and I'm feeling
just as craven as the Edgar Allan raven that
" Quoth Never-never-more."
Sro
)
40
THE- PICTUR&GO&R
FEBRUARY 1922
In I < > . / npeli - Inn
CxhU i n i J ,-/.
'm to ViV 'd/
THE-
EXCURSIONS
OF ANTST
Dainty Ann Forrest has been picture-making
in England and on the Continent, combined
with a little globe-trotting in her spare time.
W
f. caving the paltu e
In r interview <i'ith i/i
King ■) Veumark.
J hen the Vikings of old set out in
search of adventures upon the
seas, they little realised the trouble that
they were storing up for their descendants.
These bearded roamcrs laid the basis of
Wanderlust in the generations that fol-
lowed them — and when one has such an
inheritance in these days of speedy travel,
it inspires globe-trotting of an ambitious
order.
That is just what has happened to Ann
Forrest. Whenever she has the oppor-
tunity of emulating the spirit of her
Scandinavian Viking ancestors, she grasps
it with no hesitation. When she was ten
years old, she left Norway her child-
hood home— and went to America. With
the characteristic Norse temperament, she sighed for an
opportunity of expressing the deptli of emotional fire that
lurks in children of the Northland.
She attracted the attention of Reginald Barker, who
was casting his picture, Dangerous Days.
" It's an emotional part that requires a lot of weeping,"
warned Barker. Ann smiled whimsically, and a smile of
confidence lurked in her deep-set sea-blue eyes. She wept
so wonderfully in that film that the director and her com-
panion-players overwhelmed her with congratulations.
Since then she has risen to stellar heights in the film firma-
ment, and has played with William Farnum in " Westerns "
in The Prince Chap with Thomas Meighan, with Houdini
in The Grim Game, and in George Melford's Behold My
Wife.
Then the Viking instinct for travel attacked Ann. She
packed up her most delightful dresses and her prettiest
jewellery and came to London. From the metropolis she
went to Paris, and then, like a dutiful snow maiden, she
re visited her beloved Denmark. And now she is back
in America. These excursions of Ann had a business
object, in addition to a holiday one.
The diminutive star with the spun-gold hair and eyes
of deep baby-blue that sparkle with the ice crystals of her
north country has been hard at work at the I.asky studios
in London. She has been filmed in her latest screen pro-
duction, Perpeltia, which has been re-named Love's
Boutnerang. The childish appeal that lurks in the attract-
ive personality of this charming Dane has been given
full rein in this screen presentation. She plays the part
of a little girl of nine in short frocks and a youthful hat.
Youth seems to have prevailed during the recent wander-
ings of Ann. In England and in France, where
exteriors of Love's Boomerang were filmed, she reflected
in her screen part the characterisation of a child.
And when 1 visited Denmark after an absence
of ten years," Ann told me in her rapid English
that she speaks so quickly that sometimes she is
difficult to follow. " I found myself speaking my
native tongue with the accent of a child. For when
1 left Norway I spoke with the lispings of youth,
and that characteristic has never left me.
FEBRUARY 1922
THE- PICTUR&GOE-R
41
" 1 went back to Norway to visit the scenes of my child-
hood, just for a holiday. But everyone was so kind to me
that dinners, receptions, and dances were crowded upon me
before I had set foot on my native soil for a /ew days.
" The memory that is most strongly imprinted on my
mind is my talk with the King of Denmark. His Majesty
kindly sent for me, and because I am a sentimentalist and
have always weaved fairv-stories around kin^s and their
princes, 1 loved the thought of meeting him in his great
palace."
Ann will say little of her interview with the King,
although she is one of the few film stars who have ever been
honoured by the Royal command.
" Such things we do not talk about " is her reply when
she is asked to disclose what her King said to her.
lie received her quite informally in his palace, and
congratulated her on being a representative on the screen
of the country over which he reigned.
" It was not the first time that 1 have met a king," Ann
laughingly told me, with a flash of her perfect teeth.
" When I was seven years old, I met King Christian
the Ninth of Norway. He was walking along the road one
day, very democratically. Always, with my brother in Nor-
way, I was a terrific tomboy, and I was running along,
when I bumped into his Majesty. He placed his hand
kindly on my head and led me to one side, ' Children should
show deference to their elders,' he said gravely.
" I was so thrilled at meeting a real King that I have
always cherished the experience " as one of my fondest
memories."
Her several years in America at her most impressionable
age have imbued Ann Forrest with many characteristics
associated with the country where she experienced her
film' baptism.
She has all the American's love of exploring historical
places. She spent one of her first free afternoons in England
by making a pilgrimage to Chalfont St. Giles, where John
Milton lived from 1665 to 1666. She lingered in the little low-
ceilinged latticed-windowed room of the small house where
the poet completed his immortal epic, " Paradise Lost."
And with womanly instinct, she discovered the little oaken
cupboard where she was sure Milton kept his manuscript.
In France Ann explored the quaint, crooked streets
and picturesque old houses of the French towns — not
in a luxurious limousine car, but on a simple bicycle.
It was such fun," sparkled Ann. "Dave Powell
and I rode for miles on our hired machines. Everybody
Right : Ann Forrest in tlte doorway of Milton's cottage,
Chalfont St. Giles.
htlow : With David Powell on location in France
seemed to take us and our bicycles ;is a matter oi course.
Hut imagine the sensation that we should have both
treated trundling our ancient machines, for instance,
along the Hollywood Boulevards."
Certainly there is no false pride about this
beautiful snow-maiden. Fame will never plunder
from her lovable personality that childish
simplicity that leavens the character of the
Norse people.
Jyp ■
42
TH E- PICTLJ REGOE-R
FEBRUARY 1922
The second of a new
series of articles dealing
with British picture thea-
tres and their audiences.
This month's article deals
with the kinema that is
the pride of Glasgow.
I *<•> decide which of Glasgow's several super-kinemas is
1 premier is a task as delicate almost as that which
faced I'aiis in the green-and-salad days of mythology.
Glasgow prides itself on being the Second City in the Em-
pire. It is a commercial city, crowded and utilitarian in
structure as such cities are; but it never lets its com-
mercial instincts obscure its sense of the beautiful in art.
Remember it was the dull grey stones of Glasgow that first
inspired the needle of D. Y. Cameron and Muirhead Hone,
to mention only two modern master -etchers. So that
when Glasgow sets out to erect a new picture-house, the
money that is made out of " ships, and shoes, and sealing-
wax," is expended with a lavish hand in the production
of some - thin" that is the last word in structural
elegance.
Looking at the problem from this aspect, -one can un-
hesitatinglj award the golden apple to The Picture House,
Sauchiehall Street. The Picture House, which belongs to
Provincial Cinematograph Theatres, Ltd., was one of
tin- lust kinemas to be built in Glasgow; and even in those
far oil days, before it took its present palatial form, we
regarded it as something unique. When the renovation
was completed to meet the growing public demand for
kinema entertainment, Glasgow held its breath. We have
not yet overcome our pride and amazement when we think
of The Picture House. It is one of the surprises we keep
in store for boastful Yankee cousins and cynical Sassenach
friends when they grudgingly admit that Glasgow isn't
such ,i bad place, after all. We take them to The Picture
House, and watch the feeling of awe and wonder stealing
over their faces.
Let us lead you there. Entering from Sauchie-
hall Street, which is one of the city's main
thoroughfares, you step into a sort of Arabian
Nights' palace which is known as the Palm
Court. It is entirely built of rare and costly
marble. In the centre there is a lovely marble
basin let into the t-esselated floor, from which,
on summer nights, tall jets of crystal clear water
spring high into the air. Golden carp dart
swiftly about the basin, their sheen mingling
with the coloured mosaics which line its bottom.
Slender palms lean gracefully to catch the
descending spray on their delicate leaves.
Beneath these palms one can sit in luxurious
ease and have tea and cakes or sip an ice.
Following the line of the majestic marble
columns which gleam against tapestry-hung
walls, the eye sees above a circular marble bal-
cony ; and if one prefers to have tea up there,
one may look down from the cool white balus-
trade upon the Palm Court, with its marble
fountain, its diners, and its passing crowds of
patrons entering and leaving the area of the
picture-hall behind. Soft lights shed a glow
over all, and hidden birds warble enchantingly.
Tea, before or after the pictures, is an instinct
with Glasgow audiences. The Picture House
caters lor this custom with its Palm Court, its
Wedgwood Salon, and its Old Oak Room. Any
of these may be entered without payment, or
without going into the auditorium.
The projection hall is in keeping with
all this exterior grandeur. True, the marble
is absent, but there are the tapestries ;
there are comfortable seats, an air of
spaciousness and a pervading sense of ele-
gance and refinement. A perfect orchestra
plays the best and the latest in music.
Music at The Picture House is always
good, but at one time they made a feature
of a Svmphony Orchestra, forty strong,
which helped to give the house the cachet
it now enjoys. Famous violinists and
vocalists have enjoyed engagements of
several weeks' duration here, for the
audiences are nothing if not eclectic. While-
it is truethat all classes of the community
have at one time or another passed through the Palm Court
on their way to the auditorium, The Picture House has
built up a reputation which appeals mainly to the better-
placed or more artistic among the citizens. It has never
shown anything that is vulgar or cheap, and has con-
sistently avoided the sensational. Everyone who is any-
one in lilmelom has Hashed on to the screen, but the ten-
dency is always towards selective choice.
It would be difficult to say who are favourites with The
Picture House audiences. Pauline Frederick, for example,
ligures frequently on the programme, but then so do
Na/.imova, Wallace Reid, Charles Ray. Sessue Hayakawa,
Priscilla Dean, Tom Mix, Mary Pickford, "Doug.,"
"Charlie" they each and all have their day; not so
much on account of their name, we should imagine, as for
the general quality of a particular film. Glasgow audiences
are somewhat critical, but they have their likes and dis-
likes.
Probably the above list gives an idea of where the taste
of The Picture House patrons leans. It is the sort of
place you can enter without worrying about who's appear-
ing : it's certain to be a good film, with a good cast.
Plays with a philosophical or literary leaning find their
proper appreciation here. Earthbound was a great success,
and recently the somewhat gloomy but undeniably power-
ful Swedish' production, Thy Soul Shall Hear Witness, ran
for a week. Soon after that came Alt'- Button, a re-issue.
Which proves that, although we may be " highbrow " in
Glasgow, we do relish a little nonsense now and then.
I Inother picture theatre article will appear next month)
FEBRUARY 1922
THE- PICTUREGO&R
43
Although the writer of this interview with Sessue Hayakawa
and Tsuru Aoki has shown wonderful restraint in not quoting
Kipling's " Ballad of East and West," we couldn't resist
the title. Anyway, Sessue has brought the East nearer to the
West than any poet, author or diplomat ever did.
Tsuru Aoki,
Sessue's tal-
ented wife,
has won film
fame oppo-
site her hus-
band, and in
her own
productions.
Nishiki ware.''
" No. Satsuma. That's
a Satsuma vase.''
" Not that one. The taller
one on the black stand is
Satsuma."
Thus we argued fiercely, a
little bunch of guests gathered in the
corner our hostess devotes to Japanese
•curios. The vase in question was, as a
matter of fact, Noritake ware. I hastened
to tell them so, and w^as politely but
persistently howled down
" Never heard of him." " Not a bit
of it," came from all sides, and the dis-
cussion pioceeded merrily until someone
was inspired to remark, " Ask Sessue
Hayakawa about it. He's the one sure
sage on things Japanese." So they sent
a deputation for the guest of the even-
ing, and, escorting the famous Japanese
screen-star in triumph to the object of
the controversy, awaited his verdict. A
most distinguished figure was Sessue in
his immaculate evening attire, which
seemed to accentuate the blackness of his
smoothly parted hair and the pallor of
his complexion. He listened, in that
grave, unsmiling fashion he has, until we
had all stated our convictions, then
replacing the bone of contention, he said :
It is Noritakd ware. Prettv, but modern.
and quite valueless. Now, this," picking
up a small piece of cloisonne, " is of more
interest. For it took any time from fifty
to one hundred days to make it. Shippo,'
we call it in Japan." And he told us <>i
the cloisonne makers, with their tiny
charcoal forges, and of the six or more
pairs of hands through which each pie< e
must pass before it is complete. Then
he showed us also how the great fight-
ing swords were worn and used. The
" Samurai " (knights) were privileged to
wear two of these. " My great-grand-
father always wore them. But nowa-
days," he concluded with a sigh, " they
are no longer seen in the streets, and
most of the Samurai have become
business men."
" Let us hope they still keep their
high ideals," I told him.
" Some do, some not." And with a
somewhat reticent smile he left us.
Later on in the evening, Sessue and ]
held further converse on the subject of
Samurai, which culminated in an invita-
tion to Castle Glengarry, his beautiful
Hollywood home. " Let me make it an
interview," I suggested.
" I do not mind. Only you must
promise not to quote Kipling in referring
to me afterwards."
" I'll promise. But I can't answer
44
THE- PICTUR&GOE-f?
FEBRUARY 1922
Mr. and
Mrs.
Sessue
Hayakawu
it home.
for my Editor." And we left
it at that.
However, when Sessue
Hayakawa sent his car for
me one afternoon a few days
later, 1 knew he had decided
to risk it. Castle Glengarry
lies in the Hollywood foothills,
not very far from Los. It
looks like a feudal chateau
from the outside, and was
modelled, I believe, from an
ancient French ancestral
*&' HWlttllttH
castle. The Hayakawas bought it from a very
wealthy Society woman, and re-arranged it
to suit their own tastes.
Inside, the great hall is panelled and hung
with ancient Japanese weapons of all kinds,
relieved by beautiful paintings. There is
velvet carpet on the floor, a divan against one
wall, and a huge table in the centre. Through
the library, with its lovely French tapestried
walls, past the large portrait of Hayawaka that
stands over the dining-room door, and into the
spacious grounds, I had to go. Out there, in
perfect reproduction of a Japanese tea-house, 1 found
my host and hostess awaiting me. They wore, to match
their setting, the picturesque garb of their own country,
in which although both can and do usually wear conven-
tional American dress- to my mind, both look their very
best. Tsuru Aoki was attired in a kimono of heavy grev
satin, embroidered with wisteria sprays in their natural
colours, and a many-coloured obi (sash) tied in a great bow.
Looking like the spirit of Japan, she chattered to me, in her
perfect Fnglish, about the latest thing in New York novels
and plays. Apart from appearance, she is extremely Ameri-
can, and extremely vivacious.
Sessue, in his plain black kimono, impressed me, much as
he always does on the screen, as being a typical Samurai
himself. Certainly with that grave courtesy of his, the
low voice, with its pronounced accent, and that charming,
if infrequent smile, he represents all that is best in Japan.
He is very quiet, and always rather reserved, though he can
both take and make a joke. We had tea, served d la Japan,
in tiny bowls by a dot of a Japanese maiden. They tucked
themselves away neatly upon cushions, but one has to be
born to it to do things like that, and observing my uncertain
movements towards my cushion, Tsui us little maid brought
me a three-legged stool
Neither of us arc working, at the moment," Tsuru told
me. " Sessue oess shoe is her pronunciation of her husband's
naniei has just finished The Vermilion Penal, and we hope
to both appear in the next one. Our last was The Street of
tin Dragon, a Chinese st^ry ; for which we sent to China tor
that wonderful bridal outfit I wore. Sessue plays many
Chinese characters these days."
She gave him a very arch look, as though there were
some 6ecret joke between them upon this score, but
Sessue preserved his attitude of attentive calm.
" Tell me," I queried, when we had concluded the
tea-drinking ceremonies, " how long you have been
making screen plays."
Ever since the end of 191 3." This from Tsuru
Aoki.
But before that I was on the stage. I was adopted
by my uncle, Kawakimi, and my Aunt Sadda Yacco (I
shan't attempt to reproduce the sound of these names.
You have to hear it to believe it !), and they trained me
for the stage. When I was seven, these two brought
me from Tokio to America, where they toured the
United States in repertory. Theirs was the first
all- Japanese company to attempt such a thing. At
San Francisco, the authorities decided that I was too
young to appear, so I was sent to boarding-school, where
I remained after my relatives had gone their way.
I was then formally adopted by the artist, T. Aoki,
whose name I still use."
Tsuru, it appears, had a thoroughly Occidental
education, and graduated from high-school in approved
American fashion. After that she studied dancing
and singing, and went into Society
a good deal. Fred Mace, the well-
known comedian, met her several
times at various affairs, and
persuaded the shy little
lady to play opposite
him in a Japanese
comedy. Tsuru found
the experience be-
wildering ; but the
studio lost its heart
to her, and decided
\S to keep her. Accord-
£? ingly, an emotional
drama was specially
written for her by
William Nigh. It
was a two-reeler, The
Oath of Tsuru San.
Abovt :
Sessue examining a
7iew purchase for
his collection.
Right :
In the garden at
Castle Glengarry.
A.
FEBRUARY 1922
THE- PI CTURE-GOE-R
45
" After that I went to Ince as a star ;
and whilst I was working there I met a
fellow-countryman, new to America.
Like myself, he had been on the stage,
with Kawakimi and Mme. Yacco, in
Tokio. Like me, too, he had been edu-
cated here in America. We met at a social
function, and I was very much in-
terested in his brave attempts to play
Ibsen and Shakespeare in Japanese, at the
Japanese Theatre in Los Angeles, and
promised to help in any way I could. I
told him about my cherished plan to
return to Japan some day, and go on
reforming the theatre, like my uncle
and aunt had been doing, and I found
that our "ideals were identical. After-
wards, when the precarious Japanese
Theatre was no more, I introduced him
to Mr. Ince, and his name, Sessue Haya-
kawa, appeared in the cast of the film
I was then starring in, The Wrath of the
Gods."
Here the silent Samurai opposite us
broke into one of his rare smiles.
" Tsuru and I," he said (he calls her
" Shoo-ru "), " were lone workers in
country that, not strange to us, was
yet not home. We were much together;
both worshipped at the same shrine
that of our art. We used to study much,
both at the studio and after working
Right: Sessue 'in repose. Below: Ap^
dramatic study from " The Fir$tborn."l
Their morning mail includes many "Jan" letter*.
hours. And so, little later (Sessue doesn't
worry about little things like " a's " and
" the's " when he's really comfortably con-
versational), we were married, and went to
live in little Hollywood bungalow.
" As for me, I was originally in the Japanese
Navy, although I always wished to act. One
of my uncles was a well-known stage-manager
and actor, and eventually I persuaded my
parents to let me follow my desire. I entered
my uncle's company of players, and from there
went with Mme. Yacco on one of her foreign
tours. In America, with her company, I realised
that my countrymen knew little or nothing
of the great foreign plays and playwrights like
Shakespeare. I wished, to introduce these —
classics is your name for it, is it not ? — to Japan.
" I studied at the Chicago University, learning many things besides
English. Sports of all kinds — tennis, I love it well ; base-ball too. Then I
began to translate many plays into Japanese ; and played many Shakesperian
rdles at home in Tokio. ' Othello,' my favourite, was also my best success."
With a company of twenty he next returned to America, and toured the
Western coast for two and a-half years. Already he spoke fluently Russian,
French, Spanish, English, and Italian. Afterwards, in the studios, he acquired
yet another language — that of the screen.
Typhoon, the film version of the well-known play, was the production that
fully established him as a star. Then he and his wife joined Famous-Lasky,
where they made many films, either singly or co-starring. Alien Souh is
one of their favourites. The story partly resembles their own romance. The
Cheat, in which Fannie Ward was starred, but Sessue was most prominent,
is not a favourite with him. I believe I know the reason, too. Sessue, though
he camouflages it so cleverly, is always the propagandist for his beloved Japan.
Seldom — never, I might say -will you catch him portraying a Japanese who
is not everything a Japanese ought to be. And his character in The Cheat
was — well, not exactly heroic !
Sessue likes films like Hidden Pearls, in which he was an Hawaian, and
The Bottle Imp, with its fantastic story and fairy-like settings. He also likes
to, as he terms it, " act wild " in pictures occasionally. He and his wife
appeared together in Alien Souls, The Call of the East, The Bravest Way, Thi
Honourable Friend, The Curse of Iku. Each To His Kind, and His Debt. Then
Sessue formed his own company, and Tsuru retired for a time, for they had
just bought Castle Glengarry, and there was much to occupy her there. Sps>u>
starred alone in a great many films — The Courageous Coward, Hashimura
Togo, Call of the East, The Man Beneath, The Jaguar's Claw (in which, with
46
THE PI CTU RE-GOE-P
FEBRUARY 1922
a tine black moustache, Hayakawa out-Olanded Warner
Oland in both appearance and ferocity), The Honour of
His House, The Temple of Dusk (his first feature), The
Grey Horizon, The City of Dim Faces, The Firstborn, and
The Swamp. In 'The Dragon Painter and Black Roses, two
fairly recent productions, Tsuru Aoki also appears.
The two have many interests besides their work. Sessue
draws and paints splendidly, both in Japanese and Euro-
pean fashion : his collection of rare and beautiful objets d'art
of all kinds threatens to turn Castle Glengarry into a
museum. He also writes much, and has evolved many
scenarios ; and (I hate to have to blazon forth his one
iniquity) he has written poems — in Japanese; and he says
he may one day surprise us with some in English. He
plays, too, and his wife sings charmingly ; anything, from
a weird songlet of Nippon about plum blossoms, to " Good-
bye," or operatic arias, and a rattling rag-time chorus-song.
Just now they're interested in a club formed for social
activities between Americans and Japanese residing at
Los. Hayakawa was much amused at an English news-
paper cutting of mine, concerning a man who had perfected
a typewriter which typed Japanese characters. He and his
wife are very hospitable (a national trait), and they enter-
tain lavishly and often.
They still study much together : for Tsuru signed a
contract in 1920 with a Japanese theatrical syndicate to
adapt and translate thirty plays between then and 1922.
Her recent visit to Japan was mainly to supervise the
production of some of these.
We spent quite a while in the music room, a harmony
in pink and grey, in one corner of which stands an almost
priceless cloisonne vase, the gem of their collection. It is
a huge affair, nearly as tall as Sessue, and he's 5 ft. 7 in.,
and once belonged to an Emperor of Japan. Sessue is a
veritable store-house of Japanese lore and legend. I
imbibed a surprising amount of knowledge from him con-
cerning the nine hundred thousand gods and goddesses of
Old Japan. And was presented with a small image of
Ebizu the Fisherman, one of the seven gods of luck, and
his own particular patron-deity (Hayakawa means a
successful fisherman), as a souvenir of my visit. His
expressive face is stirred by strong emotion when he
speaks of Japan.
Some day," he declared, as we stood on the great
steps exchanging good-byes, " when I have saved one
million dollars, we shall return to Tokio, Tsuru, myself,
and my whole studio. There we shall make a picture.
One only. But this one will realise my wish to show to
all other nations, on the screen, the history of Japan.
From the very beginning, it shall commence with the
Korean invasion, six hundred years B.C. Then it shall
show all the wars and religious quarrels, the Russo-Japanese
War, and the coming ot Christianity, right up to present-
day Japan, which is as modern, in the big cities, as we are
here in Hollywood."
" We never tire of discussing it, and many plans are
already in hand for the production." This from Tsuru.
"The title we have already chosen. It is to be called The
Open Door." Which reminded me that standing chatting in
the draught of an open door is not the best thing in the
world for a man who has just recovered from a serious opera-
tion for appendicitis.
" Sayonara," I ventured. (It means " farewell," and
is the only Japanese word pronounced as written.)
" Say Au revoir," Sessue replied politely.
" Samurai, those gallant, two - sword gentlemen of
Japan, are no longer seen nowadays," Sessue Hayakawa
once said. I think he's wrong. I think one, at least,
is to be both seen and heard in and around Castle Glen-
garry, Beverly Hills, California, U.S.A. viola McConnell
Sessue Hayakawa outside his home, which boasts the un- J apanesy name of Castle Glengarry.
FEBRUARY 1922
THE PICTUR&GO&R
47
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THE- PICTUra&GOE-R
49
Unusually good, on the whole, and
unusually plentiful are this
mouth's releases, so it is to be hoped
that picturegoers' pockets are l>v now
replenished after the Christmas and
New Year festivities Si\tv feature
lihns are due, a record number lor
so short a month, and all countries
except Sweden are represented. lie-
sides those dealt with below, licit
l-ytell will be seen in a very good
drama, The Temple oj Dawn ; Marie
Doro appears in The Wood Nymph,
Annette Kellerntan has a spectacular
swimming entertainment in What
Women Lure, and Alice |oyce an
interesting society drama in The Vice
oj Fools. Going Straight, a popular
Norma Talmadge feature, is re-issued,
Kva Novak appears in a sparkling
light comedy, IJp In Mary's Attic,
and Sinister Street, a British adapta-
tion of Compton Mackenzie's novel;
which has Amy Verity, John Stewart,
Molly Adair and Maudic Dunham for
its leading players, is one of the most
interesting productions of tin' month.
It is directed by George Beranger, a
former assistant director of Griffith
and was only completed three weeks
before its release date. No "told
sti irage " here, at any rate.
\llhough an " inside " org. in, pic
t lire " tans " w ill find " The
Motion Picture Studio," price |d,
weekly, of absorbing interest h'.s
pecially those with kinematic aspira
tions, for many helpful articles and
a symposium are always to be found
within its covers A splendid series of
articles on scenario writing by a
former member of the Hepworth
literary department has just been
concluded, and make-up, photography,
cutting and assembling are subjects
to come The " Studio" also gives
lull criticisms and accounts of British
productions as they are Trade-shown.
It is also the oftn lal org. in of the
Kinema Club,
17 ally days in the Golden West,
v a mystery -ring, and wonderful
backgrounds, not to mention the line
acting, all go to make up that verj
line Clara Kimball Voting production
l-Ol the Soul l)J lull,:. I I lie stai
herself is more than usually good as
the heroine, a girl brought up to sub
mission, but a rebel at heart Tin
novel by Marah Kllis Kyan is a well
known favourite, and all the mciu^
described therein were made on the
actual spots of Southern California's
ancient missions. Many native
workers helped to give (he film it-
true atmosphere. There i> one jarring
note the character of the mercenary
woman described as " ICnglish," which
is an exaggerated and ridiculous
caricature-. It i>. though, in g I
contrast to the reposeful dignity o)
the heroine Clara herself, alter a
lengthy tour and a short vaudeville
engagement, is busv picture-making
once more, and What \<< Man Knows,
her newest completed film, has just
been released in \mcrica.
ay Allison is always at her best
in a part t hat alle >rds scope I' a
a slight touch of caricature or satire.
In Are III Mm \lilu '■ she give- a
character studv of an irrepressible,
unconventional girl with a passion
for having her own way, when and
wherever -he pleases. In her hunt
for freedom, -he tests men to find out
whether or no they are- all alike
Before the end of the photoplay she
does find out, and is extreme!) glad
to let her childhood sweetheart (a
lawyer) get her out ol the scrapes
she falls into so readily, and lead her
to the altar. Wallace MacDonald
plays opposite Mas Mlisoii m this
well-produced comedy-drama, and two
other favourites K ut It Stonehouse
and Winifred Greenwood, also appear.
01 1 1 1 1- the most romantic ol screen
marriages was that ol \la\
Allison \ war ago, in Greenwich
not the Greenwich amid which some
ol the -' i lie- 111 III III M, ii Hi hi ■
takes pi. ice but Greenwich, Conn
-he and Kobci I I'lli- were sc< retlv
in, i rnei I I he\ pa i ted ahiu >st imnic
diatel) after the ccrcmom because
be it h w el e nuclei c out i ,ic t w hie Ii led
Iheii paths far apart In ihe-e days
of ultra public it \ n i- i e.'llv an
achievement for so popular a pair
of film plavers to ha\c kepi theii
secret so long ,im\ so well Kobert
Kllis, beside- being a dilccloi is a
well known leading man He appeared
opposite his prelt) wife in l> hoi
Thirty Da) . and, more reeenth he-
has played with Katherinc Mai Donald
and m / adii - Musi I ... , with Bel i \
Coll1p-e HI.
\nita Stewart 1- none too happdv
cast in II i tin /' ' .
which is adapted from the novel In
Kat hlec-n Non is I he -ten \ is a
familiar one : that ol a w ife with a
past, .i in I i here is in > n< u i w ist to
counter balance its obviousness ( oin
cidence plavs the star role, and the
villains are disposed of whole-sale
The heavy is stabbed to death the
good man's wife, and the adventurer
with whom she eloped tire con
vcuieiitlv killed in an accident, and
so everything is made easy for the
hero and heroine Otherwise the
feature holds great appeal lor feminine
"fans ': the backgrounds, costumes,
and lighting arc first class and
the production and acting splendid
Ward Crane, Irving Cummitigs, Mvrile
50'
THE PICTUR&GOE-R
FEBRUARY 1922
Stedman, Charles Richman, Mar-
garet Landis (Cullen's sister), and
Barbara La Marr, are included in
a long and capable cast. Anita
Stewart has nearly finished A Ques-
tion of Honour, the first of her 1022
First National Productions,
Ouite true to life, although it has
been used many times before,
is the story of His Greatest Sacrifice,
William Farnum's February release.
The star gives a careful and always
interesting portrait of an author
whose wife leaves him in order to
win fame as an opera singer. His
" sacrifice " consists of spending twenty
years in prison for a. crime his wife
accidentally commits ; but, though a
" sob " story, the end is a happy one.
Evelyn Greeley plays the leading
feminine role, and little Loreta Volare
is an appealing child-star. J. Gordon
Edwards, whose Queen of Sheba will
be released next month, produced
His Greatest Sacrifice, which suffers
from many superfluous sub-titles.
T XTilliam Farnum is hard at work
VV again after his long holiday.
According to a recent interview, he
had the time of his life in Deauville,
France, where, with the usual be-
ginner's luck, he played baccarat for
one hour, and found himself the
possessor of 73,000 francs at the end
of it. William declares himself the
only American who has ever visited
the Casino and left a winner. After
Deauville the Farnums went to Mar-
seilles and Paris, anil spent several
weeks on an extensive tour of the
" battlefields of France. There was one
very young lady in Paris who gave him
the warmest welcome he received
anywhere — wouldn't leave him, in
A handful for the director.
Wallace Beery and Lon
Chaney as they appear in
" The Octave of Claudius."
fact, and insisted on accompanying
Mrs. Farnum back to America. Her
name is Olive, and she hadn't seen
her daddy since she left home, bound
for a finishing school in the capital
of France.
The first all-Australian production,
The Sentimental Bloke, appears
this month, a very human and humor-
ous story which is undeniably fascin-
ating. C. J. Dennis's verses are now
famous, and the Sydney '•' larrikin,"
with his factory-girl sweetheart,
" Doreen," and his unaffected love
story, will probably live a long while
in screen history. Much of the poem
is in the sub-titles, and the specimens
of slang show plainly that U.S.A.
has very little on Sydney in the way of
weird and fearsome expressions. The
settings match the story ; they are
the homely surroundings of a group
of homely folk, but the exteriors are
remarkably beautiful. Arthur Tau-
chert, ' The Bloke," Lottie Lyell,
" Doreen," Gilbert Emery, Stanley
Robinson and Harry Young will be
seen later on' in the year in a sequel
to The. Sentimental Bloke, which is
equally fine.
A good old-fashioned sentimental
screen-drama is The Atom,
which features Pauline Starke as a
boarding-house slavey who worships
one of the lodgers in " Dick Swivcller
and the Marchioness " fashion. Pathos
is the keynote of the story ; but there
arc many quite interesting character-
studies, and some good thrills brought
aboul in ,1 natural and artistic way.
The photography and backgrounds
are good, a\m\ the acting excellent.
Harry Mestaver plays the actor-hero,
and Belle Bennett,' Ruth Handfor.I,
and Walter Roberts are all extremely
good in smaller roles. Pathos is, of
course, Pauline Starke's forte ; she
has latterly done splendid work in
Vitagraph features, one of the most
recant of which is Flower of the North,
from the James Oliver Curwood story
of the same name.
It is a pity those in command could
not have chosen a better vehic le
for delightful Peggy Hyland than
Love Maggie, The facts that the novel
is a popular one, and that the photo-
graphy, acting and production are
good, especially the country and
theatre scenes, may commend this
British feature to kinemagoers who
like sentimentality, with a little
snobbery. There is plenty of incident,
but little real story, because most of
the incidents have no visible results.
Peggy Hyland should be in England
again by the time these lines are in
print. She has been travelling with
her director and camera-man in
America making a story scenic.
Maudie Dunham, James Lindsay, and
Campbell Gullan are the other princi-
pals in hove Maggie.
Possessing a most unusual story,
which gives much food for dis-
cussion, One Hour Before Dawn
contains mystery, horror, crime,
and a slight flavour of romance, and
is the best Pathe release of the month.
The plot, though intricate, is easy to
follow, and the duel of wits between
a man who believes in hypnotism and a
man who does not is highly interesting.
Nobody, however, can really persuade
themselves that H. B. Warner could
have committed the crime of which
he is suspected. The feature contains
some beautiful photography, and many
clever " close-ups." Anna Q. Nilsson
is a charming leading lady. Lillian
Rich and Adele Farington, Thomas
Guise and Frank Leigh also appear.
The full story of One Hour Before Dawn
is told in the Feb. " Pictures."
Anna Sewed 's appealing story,
"Black Beauty — the Auto-
biography of a Horse,"' has made
a very charming photoplay. Picture-
goers who have read it will doubt-
less remember that the narrative
only hints at certain happenings at the
Big House, which were naturally
beyond the ken of Black Beauty. But
the screen version very cleverly fills in
these details, explains the reason why
the Squire went to town the day the
bridge was swept away, and also what
the family were doing at the hotel the
night Black Beauty had such a thrilling
escape from the burning stable. The
story has been carefully kept to period,
and bonnie little Jean Paige looks
perfectly delightful as " Jessie Gordon,"
as well as acting the character through-
out. " |essie " is seen aged thirteen
FEBRUARY 1922
at the beginning of the story and grows
P up before the end. James Morrison,
li too, is excellent; and the equine star
I who plays the title-role, " Ginger,"
I " Merrvlegs " and his other com-
j panions arc highly satisfying. The
I producers' idea of English life differs
I a good deal from the real article, some
I of the " Cockney " sub-titles, too,
I might have been improved upon ; but
I the hunt, the fire scenes, and the neck-
I and-neck race to the station are all
I thrillingly attractive.
It was a glad day for picture-lovers
when Will Rogers and J . G.
\ Holland's novel " Seven Oaks " made
I each other's acquaintance. As
" Jim Fenton," the happy-go-lucky
I hunter, Rogers dominates this some-
I what melodramatic feature. His
. characterisation is so subtly built up,
I that, like the rogues Will out-generals.
I the spectator takes a long time to
I realise what a shrewd fellow the
I secminglv simple Jim Fenton really is.
The Wilf Rogers sub-title, like the Will
i Rogers smile, is quite inimitable. Jes'
I Call Me Jim contains many specimens
I of both ; production and photography
I are of the usual high standard. Jimmie
I Rogers lias a small boy part that fits
: him well, and Raymond Hatton puts
I in one of his clever cameos as " Paul
I Benedict." Irene Rich, the only
f feminine name in the cast, has appeared
in several Will Rogers features before,
i Will is still in vaudeville, but it is
I probable that he -will be back in Film-
\ land shortly.
Some good serials are released this
month. The Count of Monte
Crista, a French production of a new
( kind, relies on story, not stunts, for
its interest. It is a faithful pictur-
isation of the Napoleonic story, and
features Leon Mathot, Nelly Cormon,
and a large cast composed of mainly
stage artistes. The famous stunt by
which (in the novel) the prisoner
: escapes is well screened and very
thrilling, and the whole thing is pic-
I turesque and impressive. There is also
The Double Adventure, Charles Hutchi-
son's serial, which is packed with
I stunts, each one more thrilling than
the last, and in which Josie Sedgwick,
i Carl Stockdale and Ruth Langston
support the star. Charles, who plays
a dual role, undergoes some surprising
adventures in New York and in a
South American republic. Francis
Ford, too, a well-beloved serial hero,
reappears in this guise in The Great
Reward, which is quite good of its
kind, and contains some of the clever-
est double exposure work going.
Mary Pickford " fans" will enjoy the
lovable little star's February
offering, Through the Back Door, and
picturegoers who wonder wherein lies
the secret of Mary's world-wide popu-
larity will find the reason therein,
for it was this type of film that made
Mary famous. The unwanted child of
rich parents, little Jeanne, the heroine,
is brought up by Belgians ; then, when
THE PICTUI5&GOE-I5
war breaks out, she is sent to America
and finds a position as maid in the
house of her own mother. Mary is
sweetly wistful, in her own familiar
way, and her juvenile pranks are vei \
good fun indeed. Elinor hair, who
has not been seen in a Pickford
feature since Daddy Long Legs, is
once more a member of the company,
and Peaches Jackson. Dorien Turner
(the two children). Gertrude Astor
and John Harron appear in support-
ing roles. The Ragamuffin, an early
favourite Pickford film, is also re-
leased. The set showing the rive rooms
in the American mansion, with hall-
way and stairs, took up 4,300 square
feet of the huge Brunton studios.
It is most magnificently furnished and
arranged, and forms an effective
contrast to the farm scenes at the
beginning of the film.
restimony is sure of a warm welcome
from British picturegoers, for,
besides featuring Ivy Puke, it is ex-
quisitely presented. The rural set-
tings comprise typically British land-
scapes and old farms; both exteriors
and interiors are well chosen, and prove
without a doubt that Old England
need fear no competition from America
so far as natural settings arc con-
cerned. The story is a domestic one,
and Ivy Duke as an unhappy wife,
and Mary Rorke as the harsh mother
who ultimately repents of her harsh-
ness, are both excellent. David
Hawthorne makes his first screen
bow in this film. David has pro-
gressed much in the year he has been
in studioland ; he will be seen starring
in half-a-dozen good British films
this year. Guy Newall, just back from
a successful American trip, writes us
that he hopes to start work again
as soon as possible with his beautiful
screen partner, Ivy Duke, as his star.
51
The best British comedy film of the
mouth is La /'oupu, both for
its novelty, its clever sub-tilling,
and its delightful star. Adapted from
the comic opera beloved so much a
few years ago, it tells the story of a
shy youth who, compelled to marry
in order to obtain a large sum of money
from a rich uncle, buys and " weds "
a wonderful mechanical doll that
walks, talks, sings and dances. But
the maker of the doll has a fair and
mischievous daughter who, having
lost her heart to the shy woman-hater,
substitutes herself for her father's
masterpiece, and after some amusing
and surprising adventures in a monas-
tery, manages to reconcile her husband
to his fate. Quite a fantasy, La Poupce
is beautifully photographed (the exte-
riors were made at Medmenham Abbey),
prettily costumed in the brocades and
powder of Old France, and well acted
by Flora I.e Breton, Fred Wright,
Richard Scott, and others.
V'\7a"y ^(>K' nas a delightful piece
V V of romantic nonsense in The
Charm School. Claiming to be
an adaptation of the play in which
Owen Nares starred this side, it bears
very slight resemblance to it. This,
however, does not prevent it from
being a highly entertaining comedy.
As the hero who inherits an old-
fashioned boarding school and trans-
forms it into a very modern idea of
a girl's seminary, Wally Reid is rather
more flippant than is necessary. A
hero of exaggerated seriousness would
have been better in keeping with the
idea of the play. I.ila Fee heads the
bunch of pretty girl pupils at The
Charm School. Wally Reid threatens
to pay London a visit some time this
year, and shoot some scenes there for
his Across the Continent film, in which
52
TME- PICTUR&GOE-P
FEBRUARY 1922
Rowland Lee directing Raymond Hatton and
Shannon Day in His Hack /{gainst the Wall"
Mary Maclaren appears as the heroine.
They will need a few extra policemen
to keep the crowds in order if Willly
doesn't change his mind.
Mae Murray's star pictui
nronth is rather old
S
launch supporters of Western thril-
lers will find Harry Carey's Bullet-
Proof and William Russell's The
Iron Rider well worth their con-
sideration The Carey rive - reeler
presents Marry as a bandit, who roams
about and indulges in wholesale killings
without apparently the law interfering
with his simple pleasures. This hero
seems to bear a (harmed life, hence the
title; the film contains plenty of
healthy Western action, line back-
grounds, anil a good cast including
Fred ('Jumble, Kathleen O'Connor,
Robert M< K'im, W. Y. Regno and
Beatrice Burnham, The Iron Rider,
too, contains much that is entertaining
and has only one murder William
Russell has so much riding and fighting
to do (hat he has not much time for
acting, though he is as good as ever
in his part Cola Vale is a pretty if
vague heroine, and the scenic effects
are very line.
A I. ways a lovable hoyden, Viola
f~\ I)ana has another good stage
story in The (horns (iirl's Romance,
which will please all but the hyper-
critical The feature is not nearly so
melodramatic as its title would suggest ;
tin- characterisation is good, so is the
humour; and the gradual reversal ol
positions of the husband and wife,
who arc tin- chief characters in the
plot, is an attractive new twist to a
simple story. The stage scenes are
extremely well done, and C.aieth
Hughes, now a star himself, is an
effective foil to the dynamic Viola
Tom Gallery, Anne Shaefer (a former
Vitagraph favourite), and William
Mong all do good work. Viola Dana,
alter having seemingly settled down
as a permanent member of her sister
Shirley Mason's (Mrs, Bernard Dur
mug's) household, has at length bought
herself a lovely home in Hollywood
Viola's house-warming party was the
event of the film month in l.us
ire of the
)ld material,
and might be described as a
mixture of The Idol Dancer and Broken
Blossoms, the story containing slabs of
each. The beginning of the picture
is very good, but the middle is un-
interesting. It picks up again at the
end, and it gives Mae Murray an
opportunity for her best work to
date. Particularly good is she in the
Limehouse scenes, which arc well and
effectively composed, and afford good
contrast to the South Sea sequences
which follow. George Fitzmaurice's
staging and lighting effects are mas-
terly always. David Powell and
Dorothy Cummings are particularly
good, though the whole cast leaves
little cause for complaint. This
feature will please picturegoers who
like well staged and well played
melodrama.
Another good melodrama is Trump
Island, which stars Marguerite
de la Motte, Wallace Macdonald
and Dallam C'ooley. This is a
Gouverneur Morris story, and its last-
moving action is punctuated with
thrills and suspense. Its scenes range
from convent life to ja// parties, and
aeroplane stunts in the sky, and at
such a pace that one has no time to
relied upon improbabilities until it
is ended. Marguerite de la Motte has
her first star part in Trumpet Island ;
she has been a sweet and dainty
heroine in many Douglas Fairbanks
features, including Ins magnum opus,
Tin Three Musketeers, wherein her
Constance " provided good reason
for " I' \rtagnans " daring deeds.
Marguerite is at Inceville at present,
co starring in Jim.
7 he Right to Happiness, which stars
Doroth) 1'hillips in a remarkable
dual idle, is a spectacular pro-
duction in which twin sisters are
separated when children one be-
coming a Russian revolutionist, and
one a selfish American butterfly The
agitatress leads a violent mob on to
destroy her father's house, but is shot,
ami when dying, is reconciled to her
kindred There is much that is fine in
both production and acting, and the
story is well told and quite interesting.
Dorothy Phillips is at her best as the
agitatress ; the nervous yet passionate
sincerity of the character suits her
style well. She and Allan Holubar,
her husband and director, contem-
plated making a feature in Europe this
summer, but they have just com-
menced another super-feature in the
U.S.A. instead.
F'
"rom Italy comes a very tragic
story of the mid-nineteenth cen-
tury It shows the whole life of a man
who made ambition his god. Mario
Bonnard, who plays this character,
is surprisingly stolid for an Italian
actor. Victoria I.cpanto, Hugo
Piperno and Nina Dinelli have im-
portant roles. There are some inter-
esting incidental scenes introduced,
dealing with the times of Henry of
Navarre, and the lighting and 'pro-
duction are fine. Saryuna, a Gaumont
Fine Arts offering, was made in
France by Poifier, producer of The
Thinker. It is a remarkable story
of the East, with magnificent settings
and artistic photography and pro-
duction. The plot is fascinating :
it concerns a Hindu image which
confers five wishes upon its possessor,
each of which, however, will drain a
part of his life. The wishes are carried
out quite naturally, and might or
might not have been connected with
the little god of happiness, and the
man's death at the end is a logical ,
conclusion.
Another drama that is different
is The Trembling Hour, in which
the hero, played by Kenneth Harlan,
is a neurasthenic. As the convict
who reforms and returns from the
war a hero and victim of shell-shock,
Kenneth has a idle unlike his usual
characterisations, and comes through
the ordeal very well indeed. The
villain (Carl Stockdale) is very grim
and convincing, and Willis Marks and
Helen Jerome Eddy both contribute
excellent' character studies respec-
tively of a nervous old convict and the
heroine The Trembling Hour belongs
m the detective story class ; and its
photography, production and lighting
are good. Kenneth Harlan figures
in many Constance Talmadgc releases
this year lie went to Vilagraphs
recently lor a feature opposite Corinnc
Griffith.
Ion Cltanex , whose first star picture,
-/ The Penalty, is released, likes
better than anything else playing
the role of a denizen of the under-
world, especially if there is a sugges-
tion of tieildishness about it. I le
became famous after his work as the
deformed crook in 'tin Miracle Man.
and has since specialised in such
character studies. In The Pcnaltyhe
plays a legless and evil crook who is
later cured by an operation on his
FEBRUARY 1922
THE- PICTU RE-GO&r?
53
head, which changes his nature tom-
pjele'y Under- world stories are not
uncommon, but this one is quite out
of Hie ordinary Though containing
some grim and brutal incidents, it
should interest everybody, for the
production is excellent, the acting
restrained and true to type, and the
central figure (the crook), in spite of
his brutality, excites more compassion
than hatred Charley's is a remark-
able performance ; and Ethel Grey
Terry, as n spy, Charles Clary and
James Mason lend capable support.
British releases are plentiful and,
on the whole, very good, The.
Street of Adventure, picturised from
the famous novel, has been altered
from the famous novel quite a bit,
Also l.ionelle Howards " Frank
Luttrell " is a little disappointing. With
its glimpses of the well-known purlieus
and offices of Fleet Street, this story
of journalist it life is both romantic and
exciting Irene Rooke is excellent in
her characterisation of the middle-
aged fashion-plate artist on ' The
Morning Sun," who mothers the rest
of the staff. The secrets of the
editorial sanctum have been open
secrets for some tame, but everybody
will be interested in watching the
happenings in the offices of ' The
Morning Sun," and Londoners will
delight in seeing the well-known
thoroughfares of their native heath
.on the screen.
Two Stoll adaptations ot well-known
novels are The Woman of His
Dream, an Ethel M. Dell story, and
The Four Feathers. The first-named
stars Mary Dibley, Alee Praser, and
Sydney Seaward, and has some exciting
moments. Mary Dibley nearly lost her
life when the shipwreck scenes were
filmed.. They had chosen a really
dangerous bit of coast near Dieppe
lor their operations, and the natives,
though much interested, did not warn
the players Mary Dibley was swept
away and was quite unconscious when
she was rescued. The car smash
episode was filmed at Stanmore. and
was far from being tragic when made
The camera-man and his machine were
perched on the bonnet of the motor,
of which (needless to add) the
engine had been stopped. Sidney-
Seaward who ' drove sat at the
wheel, but the car was actually pushed
from behind.
I^he whole company, bending low
so as to escape the camera's eye,
pushed and shook for all they
were worth, and the zig-zag motion
which looks so well on the screen is
the result of their efforts. The inci-
dent was filmed twice, and the " hands
that rocked the motor " were very
glad indeed when the affair was over.
The high road where the " accident
occurs is in reality the drive of a well
known and wonderful old house at
Stanmore. The Four Feathers (from
A. E. W. Mason's novel) is a fine
production, with good acting, and
characterisation, and wonderful and
spectacular desert scenes. Marry
Hamm as the coward who receives the
four feathers is exceedingly good ; and ■
Cyril Percival, Henry Vibart, Mary
Massart. and Tony Eraser lend ade-
quate support.
I pictures," in its new and per-
manent form, supplies a long-
felt want with its " Kinema Guide
Always a pioneer (it was the first
of the-movie journals), it is the initial
publication to give the ardent picture-
lover the information he values most.
i.e. where and when he can see his
favourite films " Pictures " is retain-
ing all its popular features, and " Brick
bats and Bouquets," which was
crowded out of the February issue,
will positively appear in the March
number. This month's Art-plate is,
in response to many requests, of that
popular British star, Henry Edwards,
It is his favourite picture of himself,
and everyone will agree that it is
the best one he has ever had taken
Henry Edwards has just finished
another original comedy called Simple
Simon, which will be seen on British
screens sometime this summer. There
are six long complete him stories in
the February " Pictures
Gladys Walton
with lit) private
p a ii I t ) \
•ard.
Just fou r ( c c n
years too late, said
Julia. " hourlecn
years as far as you
are concerned, he
said gently, fhil
in Li I la's case, well,
really , who can say ?
£IOO
for helpinR
to edit
- PAN "
"PAN" " -
I'- rcadt-fs the
following pi "•'
this nn. i, ii. I'.ii
the besl t-k it i Mil
,,f il,.- worst
Firit Priit £50
Stcond Pritr 120
Third Priit IS
•OPrw <••(.! il
50 f> - Novrli
He was a
Bad Hat,
but
When I >ii k Faton came back
he i'ci ami the g< I ii thc-
machinc thai brougi i ;n -•■>-
in a night to r.iiia, hi-
daughter, and saved hei from
a marriage that would ;. av<
made sinpu ie- k of I • ■: lit."
Even so, EiJIa'j s dvat
.all and bitterness to [ulie,
het mother. Through the
\ ars sii< I ,•. : fought and
striven and schemed sinjj '••
handed. And -c hi n at 1 ng
las) she saw th< ■ •. . • hei
feet it was I ilia whoseize ! i:.
^» outh had won ; as il always
has loin ainl ahvaj s will
I I \ m enji >v .1 ston I 'rat grip* ,
read •• 1111 I'KODK.AI
F AIMER,* bj Karl her
loggers, "I which 'he '
going is a briel inline It
appears m the Februar)
" PAN.'' There are 14 othei
stories for all mo
ecpialh .1 g 1.
AT stories thai appeal
in TAX are accepted
absolute!) ontheii merit
1 1 \ on are tired of 1
ing second-rat< si 1
bj fir si- rate -
PAN i> t lie niag.i
vou are wanting
THE FICTION MAGAZINE
IS Storimw for One Shilling.
Gel the February Number to -, lay.
11 1 . 1 1 J I \ \| - ■'■-,•
54
THE- PICTU RE-GOE-R
FEBRUARY 1922
Roderick!" he muttered, " By heaven, I'll get him now." Bulfinchwas near
the lovers before his presence was delected.
her desire to
opposing the
rXe GLORIOUS ADVENTURE
By ^e/ix (prman
\ \TITH hysterical laughter Stephanie
V V . suddenly lunged forward, and
aimed the knife at Roderick, who shrank
just in time to escape the thrust. Unwin
hastily summoned all his energy and threw
himself against Stephanie, grasping her
wrists and pushing her back towards the
table. Withagaspof sobbing, she dropped
the knife, and started towards the cl. .. .1
" Sou, Roderick," she exclaimed im-
periously, " you will find that Stephanie
Dangerfield can hate as well as she can
love I " And she swept out "f the room.
The revels at: the royal palace were at
their height when Lady Beatrice, her
heart full of despair, arrived to answer
the King's command. Pepys escorted
the fair visitor into an anteroom, and
there Av remained alone while he went
into the banquef hall to inform the King
of her arrival.
Lady Beatrice sat in deep thought,
and as she reflected upon all that lay
before her, she saw a vision of herself in
th( position of the King's favourite. She
visualised herself as the King's plaything,
'forced to yield to his embraces. Her
rep nisi on at this mental picture was such
that she quivered from head to foot and
lose quickly t<> make her escape.
A^ she opened the door she stood facing
tin King, who motioned Pepys to await
without, and entered, closing the door
hi hind him.
Lady Beatrice was in a tremor, The
King advanced towards her, but noticed
that she shrank from him. lie addressed
her with great courtesy, and she replied
with the deference due to his high position.
Ihi' inf.it nation of the King for hei was
plain. At last she was his., lie took her
in his arms and ardently kissed her
coronet of golden hair, speaking rap-
turously of his affection for her
I hen the K'inj; turned her face towards
his, and as he was about to press his lips
on hers, he looked into her eyes. What
lie saw then frightened him. He stared
into those wide blue eyes, and slowly
loosened his embrace. For in her eyes
he saw an expression of such exquisite
and poignant pain, tenderness and inno-
cence, that he stood gazing at her with
the best of his manhood expressed in his
rising emotion.
" Mr, Pepys ! " he called. And Samuel
Pepys entered, bowing to the King, who
now gently led Lady Beatrice to the side
of the curious official of the royal house.
" Mr Pepys," said the King, " escort
this .sweet lady to her home, and guard
Adapted from the natural-colour film
drama presenting Lady Diana Manners
and an all-star British cast. The
original narrative of " The Glorious
Adventure " was written by the pro-
ducer, Mr. J. Stuart Blackton, and the
photo-drama by Felix Orman. Copies
of the January issue containing the
first instalment of this story may be
obtained from the Publisher, Long
Acre, W.C., price is. 3d. post tree.
her as von would your own daughter."
Lady Beatrice knelt before the King and
kissed his hand.
" A King and a gentleman," murmured
Samuel Pepys, as he watched the scene.
Stephanie was in the drawing-room at
Lady Beatrice's home talking with
Rosemary in a fury of anger when the
much -worried girl returned
In a burst of passion Stephanie told of
all the perfidy of Unwin and Roderick,
and of their plans to draw Lady Beatrice
completely under their power She related
that Roderick was not the Bar! of Hills-
dale " oh. my Lady, tins have the most
sinister designs against you," exclaimed
the excited Stephanie. " Let me help
you, my Lady 1 shall befriend you and
save you from those villains."
Lady Beatrice's confidence in Stephanie-
had been shaken In her experience it the
gaming house, but now she sensed the
reality of the woman's reports and the
sincerity of
aid her in
schemes of I nwin and
Koderick.
As the} spoke, there was
a knock at the door.
"They arc there now,"
whispered Stephanie, husk-
ily. " They said they would
be here to-night, and waited
y< in return from Whitehall."
Stephanie hastened into a
rear room. Rosemary opened
the door and admitted In win
and Roderick.
We beg your Ladyship's
pardon for coming at tiiis
late hour," apologised Un-
win, bowing obsequiously,
'' but we knew the King
had commanded you to
visit him at Whitehall this
evening. I trust your Lady-
ship created a very favour-
able impression upon his
Majesty."
Lady Beatrice remained
silent.
" My Lady," continued
l'n win, " your atfairs arc
in a most serious state. In
addition to your other debts,
you have now contracted
large naming debts, the note
for which inv noble clients
the Karl of Hillsdale, holds.".
Lady Beatrice was startled
when she heard this and saw
Roderick draw from his pocket the notes
she had signed at the gaming house.
Koderick bowed low to her.
" I have no wish to cause your Ladyship
any difficulty," he said.
" No," said Unwin. " My client and
I have talked this over. This noble
gentleman is deeply in love with you,
my Lady, and we are anxious to show
you the utmost consideration. My Lady,
marry this worthy gentleman, and your
troubles will all be over."
Lady Beatrice informed Unwin that
she would take the matter under con-
sideration.
" You must decide and notify me to-
morrow," warned Unwin. " f can no
longer hold your creditors in check. A.
further delay, and you may be imprisoned
for debt." Lady Beatrice bowed coldly,
and the two men departed.
Stephanie and Rosemary hurried into
the room, to find Lady Beatrice in tears.
" To-morrow I may be in prison ! " she
moaned. Rosemary drew from a pocket in
her skirt the copy of the London Gazette,
and again showed it to Lady Beatrice,
pleading the alternative of her marriage
to a condemned felon in Newgate Gaol.
Stephanie gasped on hearing this.
" Bulfinch ! " she exclaimed. " He is
to hang for the murder of Argylc ! "
Then she turned to Lady Beatrice and
supported Rosemary's plan.
" I understand, my Lady," she said,
excitedly. " To-night you marry ; at
dawn he is executed, and you are free of
all debt. It is the law "
That midnight a strange and tragic
scene was enacted in a corridor of Newgate
Gaol. Bulfinch, morose in his hatred of
Roderick for betraying him. was awaiting
the dawn when he would be hanged.
The prison chaplain came to him and
bade him prepare for the coming cere-
monv -m\<\ Bulfinch laughed mockingly:
And then appeared Lady Beatrice, Rose-
mary Stephanie and the servants Irom
Lady Beatrice's household. Stephanie
kept in the background so that Bulfinch
' 1 ,i/iit,/ ,,ii pane .50.
FEBRUARY 1922
THE- PICTUR&GOC-I5
55
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56
TME PlCTUP&GO^r?
FEBRUARY 1922
THE Gt.ORIOUS ADVENTURE.
would nof recognise In i •Hid create ;i
SI CMC
'I he lirutish felon in Ins i ell stared in
admiration ;it tin beautiful girl who was
to. In In- wife in n, mic iiiil\ fur a few
hours. I lie pllest handed Bulfinch till'
illlV I 111 i mull llle liars, :illll tile 14re.1t
hau'v .inn ill tlie hl'lllc was extended
through the liars to take the hand of
his fail briih
I pi i mi nun e you man and wife," said
the priest.
With a sudden motion, Buliinch drew
the arm of l.ad\ Beatrice through the
liars, ri|>|ii'd back the sleeve, and pressed
and kissel the soft flesh I he terrilied
gh I i i 'II, a | i-i 1 1 in the arms nl the chaplain.
I he In iit.it ai t lull "I the i onv n t was
stopped only when the prison guards
prodded him with then swords.
Stephanie walked near the cell ,\ni\
-lulled nun kinglv as the fainting Lady
I '.eat in e was . arried aw a\ .
Solomon Eagle, a religious fanatic, was
w'uit to wander about the streets of
London, predicting a grave disaster as a
punishment for the sins of the city.
Solomon Eagle had predicted the Plague
a year before, and it. had (nine to pass.
Now Ins foretelling of a great lire that
would destrov London caused foreboding.
the people in the streets were terrified
when Solomon Eagle, with more than
usual solemnity, declared the doom of
Loudon was at. hand , that the ureal lire
he had been predicting would consume
Loudon very soon, and the people of the
( it \ would siith i for their sins
And the catastrophe occurred as the
zealot predn led
Si a reel v two hours after Lady Heat rice's
prison marriage, Dames broke out in the
bakery of Thomas Earryner, in Pudding
I .a in ' ill Thames St reel
A strong wind w.as blowing and the
tin was farmed with a rapidity that
thwarted all efloi Is al < ontrol
I run i the bakery the ifanies swept
along Pudding Lane lo Thames Street
Ihe Star Inn, a resort of travellers, soon
lav hi ashes, and then one after another
' ■! i he -leal ( hurches St Margaret's,
St. Magnus tin Martyr, those hue old
luedi.ev. d structures that, were the pride
of Loud,,,,
Soon the conflagration rushed on to
( lid St. Paul's. The glare of the llames
tinted the Thames with a. vivid glow.
The rivei was thronged with all kinds of
i i. ill loaded with household effects and
people fleeing from the danger ol the fire.
In the midst ol all this chaos, Roderick
and Ins baud ol thieves were securing
rich loot, which was systematically
removed to tin rendezvous of the thieves
in i he i rypl ol t he ( hun h
Loudon was in an uproar. The streets
were thronged with hysterical people.
Simon, the warden of Newgate Gaol,
watched from the prison as the flames
drew nearer lie called to the Chaplain,
.iiid together they, with the guards,
released all prisoners and herded them
t' iget her in t In i ha pel.
I b re ihe Chaplain addressed Ihe con
victs, his discourse bearing solemnlv upon
lie wages of sin
Bulfinch, lurking in a ((unci, cared
little for the homily on good and evil.
lb-, one thought was how he might elicit
his esi ape
Stealthily he crept toward the door.
There he quietly i linked a guard and fled
I i\ ii the hallway
Out into the street hi- passed, grinning'
maliciously. Now In- would possess this
beautiful -ill who had married him,
expecting hun to be hung at dawn ' He
knew ihe name of his bride, and could find
his w.o. to her home.
Through the lire lit streets, thronged
with excited people. he groped his
was Ihe extraordinary figure of this
brutish creature attracted little attention
in the crowd. The home of Lady Beatrice
lav some distance from the lire area at
this early stage of the conflagration,
but liullinch had no difficulty in find-
ing it
Vftcr her return to her room, Lady
Beatrice had fallen into a state of nervous
exhaustion. She tore the ring from her
finger in disgust and flung it on the Moor,
then throwing herself, dressed, upon tile
bed, fell into a heavy sleep.
It was near four o'clock when the cur-
tains of the window of her room were
thrown aside and tlie brutish face of Bul-
finch peered in Seeing Lady Beatrice
asleep on the bed. he gazed at his victim
like a wild beast about to spring upon
its prey. I fe crept through the window
and was stealing across the floor when,
he stepped on the ring, which lie recog-
nised in the glare from the window, and
snatched with a sinister growl.-
In a minute the bulky figure of Buliinch
was bending over the bed upon which lay
asleep the beautiful girl who a few hours
before had married him in Newgate Gaol.
lie grasped her hand, and with a fierce
laugh forced the ring upon her finger,
taking her savagely into his arms.
The shrieks of Lady Beatrice re-
sounded through the house, and the
door burst open, admitting Rosemary and
the servants in night attire. They were
terrified upon seeing Bulfinch, who by
now had raised the fainting Lady Beatrice
in his arms.
I le pushed Rosemary and the servants
aside, hurried down the stairs, and out
into the street.
Ouukly he. ran through the crowded
thoroughfares carrying his precious bur
den, the people too excited to stop him.
\fter leaving Lady Beatrice, following
the marriage at Newgate Gaol,
Stephanie had wandered the streets like
a lost soul. The misery of her situation
now bore heavily upon her mind.
Where could she go ? Certainlv not to
the Thieves' Kite hen. nor to the crypt of
Saint Paul's, where the thieves often met
and stored their loot .
While thus reflecting, the first cries of
tire were heard, and, looking up, she saw
the glare of the flames on tlie sky.
Then she beheld something that shocked
her Within a few yards of her, Buliinch
rushed by, his face tense and brutal. She
took in the situation at once. " He is on
his was to the home of Lady Beatrice !
she said to herself.
What could she do ? Lady Beatrice
must be saved from this frightful faff.
Neithci Inwin nor Roderick was at t..e
Thieves' Kitchen : perhaps she could find
there one or two of tlie gang who would
help her protect Lady Beatrice from
I ', u 1 1 1 n i 1 1
In tin Thieves' Kitchen she found Argvle
scciiieU bound and guarded bv Malloy,
one of the gang who had always been
friendly to her.
Argvle, remembering her perfidy on the
ship, stared at her
I must secure your freedom," cried
Stephanie, almost hysterically. " She is
in danger, grave danger You are the
one man most needed now.''
Malloy cautioned Stephanie to uo away.
Listen lo me. Malloy." said Stephanie.
" This man bound here is tlie real Earl of
Hillsdale. If you release him. you will be
rewarded with riches. I swear it."
Malloy was impressed by her argument
and cut the ropes that bound \re,\le \t
Ii rst loath to trust her. Argvle was finally
convinced that she had turned against
Roderick, and was eager to serve Lady
Beatrice and himself They hurried to
the home of Lady Beatrice, and Stephanie
hammered on the door excitedly. Peter
admitted them, and Rosemary greeted
Stephanie hysterically, gazing in astonish-
ment at Argvle, whom she believed to be
dead.
" That terrible criminal has taken her."
wailed Rosenian .
" As I feared," said Stephanie " Where
would he take her ? 1 know." Anil she
turned suddenly to Argvle " He would
carry her to his old haunt in the crypt
of Saint Raul's. The place would be
deserted now Conic with us. Rosemary ;
wc must save Lady Beatrice from a
fate worse than death."
In a remote corner of the crypt of Saint
Raul's, a nook formed by the old
Norman arches, Bulfinch had placed his
captive bride, and prepared for their
residence there.
" You thought I would be hanged at
dawn, so you did, my Lady," he said
exultantly. " You would get out of debt
while I would go to the gallows ! Well,
my aristocratic; hcaiitv your felon hndi
groom has you here, and here you will
stay with him ! Do you understand, my
beauty, here you stay with me ?
The man appeared like a fiend incarnate.
In tlie midst of his brutal advances to
the terrified girl, he heard a sound out-
side. He stopped short, and crept to the
entrance of the nook, peering out toward
the stairway leading into the crypt.
" Roderick ! " he exclaimed. " By
heaven, I'll get him now !
Roderick had run into the place to
gather together what valuables he could,
for the church was already in flames.
In his thirst for revenge on Roderick,
Bulfinch forgot Lady Beatrice, and crept
out toward the enclosure where his enemy
stood, hastily throwing money and jewels
into a box. Bulfinch moved towards
Roderick like a panther making for
attack. He was near Roderick before his
presence was detected Suddenly looking
up, Roderick saw him not more than ten
feet away ; and terror transformed his
face as he felt himself in tile presence of
tlie powerful man whom he had so
wronged, Hi' could expect no mercy and,
if he had known, no help. Inwin had been
killed by a falling beam. There was an
explosion, and a wall at the end of the
enclosure collapsed, showing a mass of
flame beyond.
Bulfinch saw this and laughed, pushing
his adversary nearer and nearer the tire.
Roderick, seeing his purpose, fought
harder and emitted shrill cries of despair.
Lady Beatrice was horrified to see
Bulfinch suddenly lift Roderick in his arms
and h" rl him into the roaring llames,
Old St. Paul's was in flames. 'The crowd
stood in awe as this fine old archi-
tectural classic succumbed to the fire.
Stephanie, with Argyll- and Rosemary,
reached the crypt entrance of the church
as the whole roof blazed.
" There is the door : 1 know you will
find them there." said Stephanie, as she
pointed toward the crypt entrance ; and
Argyle fearlessly entered.
FEBRUARY 1922
THE- PICTUR&GOtR
57
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58
THE- PICTUREGOE-R
FEBRUARY 1922
>'i iliiiliiiiiiiiiilliliiiiniiiihiiiiiiiiiiiiiiiiiiiillililiiiiiiiiNiili; iiit':;:iiihiniiiini!iili;-
BARGAINS FOR*
iPICTUREGOERSJ
ART PHOTOGRAVUREl
PICTURE POSTCARDS of I
| the following are NOW READY.!
I HUHERT CARTER CHARLIE CHAPLIN |
! (2 kinds)— JACKIE COOGAN-ZENA l>AKK-|
: PRLSCILLA DEAN — CAROL DEMPSTER 1
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contain! the TnlUm-iti* SIXTEEN MAGNIFICENT |
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(Size 10 in. by 6 in): —
MARY P1CKFORD-CHARLES CHAPLIN— |
NORMA TALMADGE MARY MILES |
MINI KK— JACKIE COOGAN— III. 1.1 AN ( iJSIl I
— NAZIMOVA — PEARL WHITE- RALPHS
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This beautiful collection of Sixty ■
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1 ENID HENNETT EDDIE LYONS
| VIRGINIA IKK MARY MILES
CORBYN MINTERl
|ORA CAREW TOM MIX
I PRISCIf.LA l»EAN NAZIMOVA
i WILLIAM FARNUM MARY PICKFORD S
| PAULINE FREDERICK CHARLES RAN
| DOROTHY (ilSH WILL ROGERS
| WILLIAM S. HART ANITA STEWART
| SKSSIK II WAKAWA NOR MA TALMADGE 1
| KICK [ONES GLADYS WALTON |
1 |OHNNY JONES & H. B. WARNER
| LUCILLE R1CKSEN PEARL WHITE
| KATHERINE I.I.I. CLARA KIMHALL §
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THE GLORIOUS ADVENTURE.
{Cotitinu&l from Pnge -0.)
Lady Beatrice uttered a cry of joy
;is she saw Argyle, and hastened toward
him. Argyle took her in his arms, but
mechanically, lor he was watching Bul-
finch. He had nothing to fear, for
Bulfinch was tilled with alarm at what he
believed to be a ghost and ran in a panic
up the stairs.
" i )li. my dear, again you save mc ! "
exclaimed Lady Beatrice joyfully, as
Argyle enfolded her in his arms.
Stephanie at this moment appeared on
the stairs, and excitedly urged them to
hurry out before it was too#late.
In a shaft of light on the floor, as if
left there by a fairy, lay the locket Lady
Beatrice had given Hugh Argyle when he
had parted from her as a boy. Argyle
picked this up and showed it to Lady
Beatrice, and then for the first time
made known to her his identity.
Then they hurried to the stairs, but
as they reached the exit an explosion
occurred. A mass of burning beams
and debris crashed through the door-
way and down the stairs, and Argyle
and Lady Beatrice escaped death only
by quickly moving to the other side of
the crypt.
How could they escape now ? On
two sides were burning walls, and no
other doorway appeared anywhere.
Argyle searched the place. " Here is
a door," he exclaimed. But then added
dejectedly : " It is tightly locked.''
There seemed to be little hope for them.
Further and further back they were
forced by the flames creeping closer upon
them, until at last they stood near the
old abandoned doorway.
Then a new and graver danger con-
fronted them. Drawing closer to them,
Argyle saw a hissing, boiling fluid, which
he knew to be molten lead from the
metal roof and structural work of the
burning building.
" We must die, dear ; hold me in your
arms," sobbed Lady Beatrice.
Stephanie and Rosemary were standing
near the doorway of the crypt whim
Bulfinch came out. They watched him
hurry on and pause about fifty yards
beyond.
Then they saw the explosion which
they feared sealed the fate of Argyle and
Lady Beatrice.
Bulfinch was standing reflecting on
what had happened ; and as he stood
there the thought filtered into his dull
brain that Argyle was alive, that the
figure he had seen was not a ghost, that
to save Argyle was to save himself from
the gallows, and also to win Lady Beatrice
for himself.
He was on his way back to carry out
this resolution when he met Stephanie
and Rosemary.
" Roderick," laughed Bulfinch. " His
charred bones he in the flames down
there ! "
Bulfinch knew of an unused entrance
to the crypt, and swiftly he, Stephanie
and Rosemary hurried there. The door
opened tinder his pressure, and they
entered a long underground corridor, not
touched by t lie fire. At the end of this
was a secret doorway. With the strength
of a wild animal Bulfinch forced it open.
From within came a cry of relief. Just
inside stood Lady Beatrice and Argyle.
The excitement that had sustained her
during the great peril was too much
after she had been rescued, and she
fainted in the arms of Argyle.
The joy of Rosemary at sight of her
beloved mistress was unbounded. Ste-
phanie tried to restore Lady Beatrice to
consciousness, while Bulfinch looked on
in a surly manner.
'They found their way to the street,
and all had reached the top of the stairs
save Stephanie.
And then, as they were about to pass
out, the roof of the corridor gave way,
and heaps of burning wood fell into the
open way.
Stephanie saw her danger and called
to the others, only a few feet ahead of
her, but too late. A wall of flame
enclosed her and, suffocated, she sank to
the ground
Lady Beatrice was quickly revived in
the open air. They paused after the
fate of Stephanie became known to them,
and walked on, Argyle holding the arm
of Lady Beatrice.
Bulfinch had disappeared. Argyle,
Lady Beatrice and Rosemary found a
place apart from the crowd and stood
watching the burning church. Rose-
mary suddenly gasped Looking in the
direction she pointed, Lady Beatrice saw
Bulfinch regarding her with a brutal grin
and approaching them.
Bulfinch drew near them and faced
Lady Beatrice in a familiar and com-
manding manner.
" Come with mc, my Lady ! " he said,
as Lady Beatrice shrank from him.
" We are indebted to you for saving
our lives, my good man, and shall reward
you," said Argyle, addressing Bulfinch.
" But you insult her Ladyship when you
command her to come with you."
" Her Ladyship is my wife," declared
Bulfinch.
" Your wife ! " Argyle laughed at
this.
" Ask her ! " commanded Bulfinch.
Argyle turned to Lady Beatrice, now
terrified.
" Dare -you deny you married me at
midnight ? " demanded the felon.
Lady Beatrice shook her head. Argyle
was astounded. Rosemary stood
trembling.
" Then come with your lawful hus-
band ! " snapped Bulfinch.
There was a sudden commotion in the
crowd as a small woman, with a deter-
mined manner and a vixenish face, pushed
her way through, making for the place
where Lady Beatrice and the others
stood.
She moved with a tense, concentrated
stare centred on Bulfinch. As she
reached his side, she stood dose to him,
placing her hands on her hips, and looking
up at the face of the man who had not
yet seen her.
" Bulfinch ! " she exclaimed.
The man addressed turned, startled,
as he heard the voice. He looked at the
little woman, and for the first time
showed signs of weakening.
" Where have von been these two
years
she demanded. " Come home
with your wife and children."
It is an odd fact of human psychology
that some men of big strength and fear-
lessness can be dominated by little
women, and this was such a case. Bul-
finch yielded meekly to the command of
his wife, He followed her to a place not
far away where their children and a
number of bundles of household effects
awaited them.
" Then I am saved," murmured Lady
Beatrice. " I shall tell you all. dear
Hl,Sh-" , - V A
'■ I do not care to know, replied
Argyle tenderly, as he took her in his
arm's. " I have you, and 1 am happy."
FEBRUARY 1922
THE- PICTUREGOE-13
59
GOOD MAN BAD MAN.
(Continued from I'agc /ft.)
" The ex-sheritf lost no time, but
returned post-haste to that peaceful
little community which he had so
lately deserted. And just as he was
riding up the main street, whom should
lie see but his brother Kd. coming out
Of a saloon. At that same moment,
three masked men materialised from
nowhere and the boy fell at his horse's
feet riddled with bullets.
" Then they saw ' Bat.' You might
have imagined it was the Prince of
Darkness himself the way those three
^uys took to their heels. He ran them
to earth in a corral, where they had
taken some sort of cover behind the
•attle. They'd managed to reload,
jhut the instant their guns started to
bark, those three men instantly
Iropped dead
" Yes,'' Mr. Hart concluded in his
Irily humorous way, " ' Bat ' Master-
.on was sure a quick man on the
Iraw.
I was not surprised, when he showed
nc on a later occasion his most
treasured possessions, to notice that
>ride of place had been given to a
mttered six-shooter which had been
^resented to him by the one-time
sheriff of Kansas.
Another friend of Bill's is Al.
ennings, once a notorious gunman of
Oklahoma, now a law-abiding citizen
1 California.
Bill told me that his first meeting
with Jennings occurred many years
ago when he himself was a member
of a "stock" company touring ' the
Western States of the Union
On their arrival at .Muskogee, in
Oklahoma. Bill hired a horse and went
for a ride About mid-day he came
upon sonic rough-looking men pre-
paring a meal over a camp-fire on the
border of a little cotton wood.
" They looked at me a bit sus-
piciously at first," he said, " but
when I asked them the nearest trail
back to the town, they were civil
enough, and even invited me to stop
and rest and share their ' chuck,' I
did so.
" I was very young at the time,
very proud of my status as a ' kid
actor,' so I talked quite a lot about
myself. 1 told them I was appearing
that night at the Turner Opera House,
and invited them to come and see me
act. I even gave them tickets for the
show, and casually mentioned, as an
additional attraction, that the new
marshal who had just arrived in the
town for the sworn purpose of getting
the notorious Jennings gang had
promised to attend.
"Then their leader told me he was
Al. Jennings, and that the other
gentlemen were members of his gang.
" They made no definite answer,
but we shook hands and parted on the
best of terms.
However, that night the first a
«l recognised in the front row of the
orchestra stalls were those of Al
Jennings and his gang, whilst within
a stone's throw from them, enthroned
in a stage box decorated with flags and
bunting, sat the very man who had
sworn to get them !
And I still feel a certain satisfac-
tion," Bill concluded with a chuckle,
that Al. got away with it —at any
rate, that time ! "
Bill told me, however, that they did
manage to capture him in the end,
and that he served his time in the
Ohio State Penitentiary. It was dur-
ing the period of his enforced retire-
ment that he " got religion " and
reformed. After his release, he settled
down in Oklahoma and managed to
deserve so well the confidence of his
community that he ran for Governor
of the State, and only lost by a very
few votes.
There must be a strong vein of
poetical sentiment in the composition
of Al. Jennings. He eventually came
to Los Angeles and started making
motion pictures. His first call on
Hill, Hart was made for the pur-
pose of handing him a pass for a
pre- view of his first production. He
said it was a return for the courtesy
Bill had shown him in giving him
a ticket for the show many years
before at the Turner Opera House
at Muskogee !
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60
TME- PICTUf2&GO&R
MOVIES IN IHI MAKING.
ccslome, hides Iht curls beneath .1
. bby lit 1 le h.it . .mil i overs her small
3 with gloves 1I1, ti her own maid
ildn'l wear to 1 i u- pu k< hers. "
The exteriors to he photographed
are fin anothei film, an<l this lime
.she is plain " Jam' |ones, ' friendless,
workless, and desperate.
A certain famous leading lady, c ast
in a similar rule, and working on a
similar loeation, experienced a new
and entirely unlooked-for thrill when
she u.is acting 111 a well known
London thoroughfare, The. camera
had been hidden 111 I he dark recesses
1 if a slu >p d< 11 >rvv a v a in I the " friend
less, workless and desperate" one
walked slowly past it. ,111 the other
side ot the road, clutching a worn
little handbag, her wide eyes ga/ing
pitifully into space, 1 lie actress knew
that tin- scene was " just right," and
at the correct moment she stopped
outside a brilliantly hi confectioner's
shop, opened t lu- shabby handbag,
gazed desperatel) at the emptiness
thereof, shook her head and turned
away from the temptation in despair.
As she did so, a girl ol the ' City
clerk " type stopped suddenly, im-
pulsively slipped some small object
into tin- actress's hand, murmured
something about its " being all right
soi hi, dear > heel up ' " and (lis
appeared into the throng of hurrying
people
It was an unrehearsed but invaluable
incident', and the revelation of the
existence of a bright sixpence in the
palm of her hand sent a momentary
thrill of remorse a sense of criminal
false pretences through the heart of
the player who had acted so well that
she had deceived the unconscious
sympathiser. But, as she rightly
contended, "it proved that humanttv
Mill possesses a heart, and that six
penny piece will for ever remain one
BAD LEGS
• by ilie New Vlctl'. .i t'auf i< < ■ he)
K'-^I is unnecessary. W.-l: rrupted.
Operations .ire abolished. Relapse i-. impci ib • .
Failure is unknown If Doctors have failed, ii
Spei < ihsts havefailed, if It p lsha\ Failed, it
matters not. l'reni'il treatment, the'
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NATIONAL INFIRMARY FOR BAD LEGS
Ward PG), Ureal Clowes Street.
Itroughton. MANCHESTER.
H ' .■ . I Pug
ol my most valued and appreciate'!
souvenirs '
Hut the sympathy ' ol the passer-
by, is nut always so conveniently
expressed as it was in this case
Anothct leading lady " of tin
acquaintance had a similar proof ot
the goodness "I mankind, which
spi lilt 1 he pict ii 1 e '
She was playing in a scene where
the scenario demanded that she should
fall from a punt, flounder helplessly
m tin.' KiverThames and be " rescued "
by the hero The producer selected a
very quid spot for his location, hid
the camera in the hall-way of a
bungalow, and alter rehearsing the
scene through, uave the order to
" lake ' " The heroine, at the punt-pole,
glided her craft gently down-stream,
and. at the chosen moment, suddenly
lost her grip of the pole, overbalanced,
and fell into the water. From the
mysterious land of nowhere a rushing
figure emerged. Hung its coat oil. leapt
into the stream and rescued the
" drowning " lady before the hero had
a chance to appeal '
Such episodes form the " extra
turns " on the leading lady's pro-
gramme, but she learns to expet 1
them, and either forgive and forget,
or sanction and remember the in-
truders, as the ease demands.
When she e,cts hack to her dressing-
room, tired, hungry and ready lor
home and bed, she will probably find
that there is still a little more work to
be done before her dream comes true.
Her dresser confesses thai she doesn'1
know what her mistress will want to
wear to-morrow is it the Dolly
V'arden hat oi- the black velvet one/
And does ni) lady remember tli.u tin-
blue gown she is making with her own
fingers will be needed for use on
Friday next ?
And then, maybe, she will settle
down to pen .at answer to sonic of
those effusive epistles which are assum
ing gigantic proportions and cannot be
quelled. Or she may manufacture a
few moments to renew acquaintance
with her own mother, brother 01 sister.
Her shadow sell is so much bigger
than her real one her work-time so
much more plentiful than her play-
time. She will be glad to nestle in
the soft sheets of her bed, and leave
the " bed-of -pale-pink-roses " for her
declining years. When they come, she
may have time to lead a lady's life,
but pour lr moment she is a film
actress, and her hie spells WORK '
Next month, "The Slagi Dunlin.
FEBRUARY 1922
IHROl GH THE HACK DOOR.
• ■ m Pa j8.)
1 'id you get my letter
I don t gel letters from .servants.
Co '
Jeanne swayed forward and touched
the woman's hair with her ringer-tips.
Mrs Keeves mined a tear stained
fai e 1, >w ards her
Mother ' 1 ried Jeanne.
I he broken butterfly sprang to her
leet and stared long, without speaking,
into those blue eves before hei those
blue eve- that w ere so like . . other
eves . . dead e\ is . . .
W 'hat w hat are you sav 111^ -
she gasped
Mother ' repeated Jeanne Tears
were streaming down her cheeks, and
her -.mile was gone She held out her
arms and 1 ame 1 loser.
When the fin ions Elton Keeves
returned to the room a few moments
later he saw, to his vast astonishment,
his wile and the parlourmaid linked
in an embrace, sobbing on each other's
shoulders.
Alter the storm the sunshine \ftei
the sunshine tin- storm again
Almost before the gossips had had
time to understand the reconciliation
of the estranged husband and wile,
another hubbub had broken ou1 in the
Keeves' mansion This lime it was
below, and. somewhere at the back
I'll ave 'em out, ' " thundered a
mighty voice. Right out ! All of
em ! None o' this nonsense with me."
It was the voice of the housekeeper,
the terrible voice of a terrible woman.
The Elton Keeves went below to
investigate. And Jeanne went with
them, also to investigate. I'm the
voice that replied was the voice >l
Billy Boy
No. Please reallv."
Kids ! " the astounded house-
keeper was bellowing " Kids! I.ivm'
lure ' Actuallv livin hcri '
lake your hands off them " com-
manded Jeanne I he) re mv kid> !
I found them in Belgium and
brought them here."
Well Thev can't live in the loft,"
said somebod)
Not III IW 111 '
l know said Hilly Boy, " they'd
better ((line home and live with inc.''
They shall never live with anyone
but me said Jeanne firmly.
" That's what I meant, " said Billy
Boy, without a blush *
Jeanne turned to him with a
puzzled look
" How
" We'll talk about it later," he said
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FEBRUARY 1922
TM9 PICTUREGO^R
61
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62
THE- PICTUREGOE-P
FEBRUARY 192:
ANGRY readers are demanding'
my head on a charger. " Yon
talk," they tell me scornfully, " of
starting the New Year right, and
you start off by
Sackcloth and calling Harley
Ashes. Knoles an Ameri-
can. He is an
Englishman, and you cannot with-
hold from him the credit of having
produced the best British picture
ever made." I cannot. Harley
Knoles was born at Rotherham,
Yorks, and I have pleasure in
announcing that his production of
Carnival stands ajt the head of the
popularity poll.
THIS is a double triumph for
Mr. Knoles, because doubtless
many readers have abstained from
voting for his picture on my assump-
tion that he was
" Carnival " an American ; but
Heads the Poll, he has won "hands
down," so there
is no harm done. Other British
pictures that received a large num-
ber of votes were The Tavern Knight
(Stoll), Nothing Else Matters (Welsh-
Pearson), and The Breed of the
Trcshams (Astra).
A READER writes to condemn
the practice of putting the
full cast of a picture in one sub-
title at the beginning of a film.
He thinks it " a
Pictnregoers who very silly idea,"
Collect Casts, as many readers
collect casts for
their albums, and unless the artistes
arc announced individually it is
hard to make a note of their names.
The cast of The Cheater, which my
correspondent asks me to give,
is as follows : " Lily Meany," Mav
Allison ; " Lord Asgarby," King
Baggot ; " Peg Meany," Frank
Currier ; " Bill Tozer," Harry van
Meter ; " Eve Asgarby," May
Giraci ; " Prall," Percy Challenger ;
" Mrs. Prall," Lucille Ward ; " The
Doctor," J. Demsey Tabler.
WHILST on the subject of
casts, I should like to intro-
duce you to George, the Human
Encyclopaedia, who is featured each
month in our pho-
Let George togravure corn-
Do 77. panion paper,
" Pictures," the
Screen Magazine. " George " spends
his nights and his days in answering
the queries of curious pictnregoers.
If there is any movie matter con-
cerning which you desire informa-
tion or advice, a letter to " George "
will bring you an answer in the
columns of " Picture--.''
I AM asked by a reader : " Where
do the movie folk go when they
get old, or rather when the public
get tired of them ? " This sounds
like a companion
Where Do the query to " Where
Stars Go ? do the flies go ? "
but it is more
easily answered. Stars may dis-
appear from the silver-sheet for
scores of reasons. Some get married
and settle down to domesticity ;
some find the stage and the music-
halls more suited to their talents ;
some retire with their accumulate' j
wealth : some get swollen headed
and are thrown overboard ; am
some give way to dissipation anc |
pass into oblivion.
'THUS " M. E. R.," of South
A port : " I went to the picture
the other evening and paid is. m
I came away with the deprcsqp
feeling that go*
Good Films films wen- a .had
and Bad. v number, and tha
the is. jd. hac
certainly been wasted. Now wh\
is such trash shown ? Consider™
one can see really good films sua
as Carnival, Kismet, Earthbound an(
Everywoman, at exactly the ?ani(
price, it is surprising to me tha
such rubbish is allowed to bi
dumped upon an unsuspectii
public. All the films mentiorj
above gave one something to thinl
about, and, are worth remembering
but films with no story at all
which rely entirely upon the per
sonality of the star, are, to nt;
mind, never a success." The rem«fc
is in your own hands, " M. E. R.'
if you follow " Shadowland " it
this paper, and " Pictnregoers
Guide " in " Pictures," you wil
know exactly which films to see an
which to avoid.
A NEWCASTLE reader writes a
■** follows on the " stars atv
types " question : " I vote that th
stars should remain true to thci
type, but let thei
A Poser for choose the righ
Pictnregoers. type. I agree wit
'Jinx' tha
Bessie Barriscale's acting i-> chant
ing, but she has had no chance i
her latest pictures. She has taler
for more emotional parts. . . . Ma
I introduce a new question ? Wli
is the greatest emotional male aett
of the screen?" A very pert
nent query.
The Nazimova-
Frederick con-
troversy has
had a good run,
so we'll give
the men a
chance for a
change. Send
along your
votes to ' The
Thinker," c. o.
' PICTUREGOER,'
93, Long Acre,
London, W.C.2.
jvi/M-^n i^/.
TUB PICTUR&GO&R
NOW ON SALE !
Remember-
"PICTURES"
is the sister pub-
lication of PIC-
TUREGOER "
— it you like one,
i u are sure to
enjoy the other.
Special Features
in this Number :
'WHAT'S ON AT THE KINEMAS'
4-page FREE SUPPLEMENT.
A complete and separate London and Provincial
Guide to the March releases. Shows at a glance
which theatres have booked the films you wish to see.
ffi
SUPERB DOUBLE -PAGE
ART PLATE (Size IS in. by9iin.)
OK
BETTY COMPSON
SI
SIX COMPLETE FILM
STORIES
No. 2
of the
New Screen Magazine
A BEAUTIFUL number — four colours
in photogravure, and a superb double-
page art plate ! A splendid fiction
number — 6 long complete film stories ! A
jolly number — songs about your favourite
"stars " ! A gossipy number, an informative
number (Ask "George")! No wonder
March « PICTURES "—your old favourite
film weekly in a new dress— is creating such
a stir !
BUT — be sure and get your copy early.
The demand is enormous.
A Peep into No. 2.
A section devoted to these fine film 'tor its :
" THE FIGHT1SG SCHOOLMASTER.'' The story of the
Famous-Lasky film, featuring Monte Blue and Mabel
Julienne Scott.
'•FOR THE SOUL OF %AFAEL." The story of the
Gaumont film, featuring Clara Kimball Young, and Bertram
Grassby.
"HIS GREATEST SACRIFICE." The story of the Fox
film, featuring William Farnum.
" TRUMPET ISLAND." 1 he story of the Vitagraph film,
featuring Wallace Macdonald and Marguerite de la Motte.
' ONE HOUR BEFORE DAWN." The story of the Pathe
film, featuiing H. B. Warner and Anna Q, X'ilsson.
' THE GRIM COMEDIAN." The story of the Gold«vn
film, featuring Jack Holt and Johnnie Harron.
"Sidelights on the Stars'' — Milton Rosmer,
"Behind the Screen," " British Studio Gossip,"
"Let George Do It." " Kinema Carols,"
•• Pulling Pictun - to Pieces."
WHEN YOU BUY No. 2, TELL YOUR NEWSAGENT
TO DELIVER "PICTURES' EVERY MONTH.
One Shilling
Monthly,
Everywhere.
PICTURES
Don't
Miss
No. 2.
THE SCREEN MAGAZINE
64 PAGES -4 COLOURS -ALL PHOTOGRAVURE.
!' shf.rs -ODH \M^ IK I SS, i
TM e.picturegoe-p
MARCH 1922
a
Ask for
TURF
CIGARETTES
20 *r If-
\
\
A Great Artiste
and a
Great Cigarette
Just as Pauline Frederick
owes her fame as a film
star of the first magnitude
to sheer merit, so " Turf "
Cigarettes have achieved
their foremost position
by reason of outstanding
quality.
The mild, ripe fragrance
of "Turf Jubilees" (20
for I/-) is a revelation
alike to the man who has
always favoured a high-
priced Virginia cigarette
and the man who is in
the habit of smoking an
ordinary "20 for I/-"
brand. If you do not
already smoke " Turf "
Cigarettes, get a packet
and judge them for
yourself.
Ask for " Turf " Derby
(20 for 1 /3) if you like your
■igarettes a little larger ; and
"Turf Big (20 for 1/5) if
you want the largest size.
M.deby ALEXANDER BOGUSl.AVSKY.
55, Piccadilly London. W.I.
4ARCH 1922
THE PICTUREGOE-I?
... r .'..■'.-. .:, .
Jackie Coo^an^
THE- PICTUREGOtf?
MARCH 1922
!<?sftmon\j
J^roofucGcl ou
-GUY NEWALL
featuring
J IVYDUKE
Don') miss tliis outstanding British film
version o I the famous novel l>y Alice and Claude
Askew produced by fiity Newall and featuring
Ivy nuke. 'I lie story is poignant with drama,
die rural settings provili the most beautiful
glimpses of the English countryside ever thrown
upon a screen. Story, production, acting and
photography place this tilm in the category of
super-pictures; it is a production that no lover
of photoplay art can afford to mi>N.
C^QoriQ ( larkDroducKon^ \
MARCH 1922
TME- PICTU RE-GOE-R
dMdRCH DldRY
VOL. 3. NO. 15. MARCH, 1922.
Editorial Offices:
^3, Long Acre, London.
Registered for Transmission
by Canadian Magazine post.
THE gallery patrons of the Palace Music
Hall, Blackburn (Lancashire , Englarid, on
Saturday, March 7, 1908, were only languidly
interested in " The Football Match," a
" turn " which was making its final appear-
ance in Blackburn that night. A serious, blue-eyed
stripling, who had done his best to score a goal, and
never succeeded in raising even one hearty laugh, rubbed
the grease-paint off his face with great savagery, and
muttered aloud to his companions in misery meanwhile
something about " Some people not knowing a good
thing when they get it." He was perfectly right. His
name was Charles Spencer Chaplin, and if he appeared at
the same hall in the same show on March 7, 1922, he'd
get a very different reception.
DASHING, brocade-clad " Ernest Vane " in " Masks
and Faces " at the Prince of Wales Theatre,
London, England, held a kind of informal reception in his
dressing-room after the matinee on Saturday, March 9,
1901. The young actor, whose name was Henry B.
Warner, was prevailed upon to meet the crowd of admirers
who wanted to shake hands and congratulate him on his
success all at once. He had never been to U.S.A. (that
came fifteen years later) and did not know the meaning of
the word Kinema. It would take more than a dressing-room
to hold all the " fans " who'd like to shake H. B. Warner's
hand, etc., etc., now he's a Movie star.
A pretty ten-year-old, with long dark - brown curls
flying, shook her fist at her equally pretty seven-
and-a-half-year-old sister and expressed the pious wish that
said sister would accidentally break her neck. For which
naughty remark ten-year-old Viola Dana promptly got the
spanking she deserved. And then explained, between
sobs, that ' She didn't really want dear darling Leonie
(now yclept Shirley Mason) to hurt herself." Only she
(Viola) was understudying her as "Little Hal" in "The
Squaw Mail." and the thing was rapidly nearing its
hundredth performance and the understudy hadn't had a
look in yet ! This occurred on Tuesday, March 10, 1908.
THREE interesting little people were appearing with
Chauncey Olcott, the famous American actor, in
' Edmund Burke " at McVicker's Theatre, Chicago, on
Monday, March 12, 1906. They were the Misses Lottie and
Gladys Smith, who were cast for boy roles, and their small
brother Jack of that ilk, who, to his intense disgust, had to
wear skirts as Lady Phyllis, the outstanding girl-child part.
Worse still, his name, according to the programme, was
Edith Milbourne Smith. The last part of it was his own,
anyway, though all three became Pickfords later on.
AN ambitious young actor calling himself
Lawrence Brayington, played one of the minor
roles in " Richard III " at the Soo Opera
House, Michigan, U.S.A., twice on Wednesday
(Matinee day), March 31, 1897. A quiet, dark-
haired fellow, neither he nor anyone else realised the
fact that as David Wark Griffith his name would
become a byword for all that is best and most
artistic in the world of Motion Pictures.
MARCH BIRTHDAYS.
*
1
-
- Pearl White
5
■
- Gladys Leslie
10
-
- - Basil Gill
11
-
- Dorothy Gish
15
-
Evelyn Boucher
lb
-
Isabel Elsom
16
-
- - Elsie Janis
16
-
H. B. Walthall
17
-
- - Ella Hall
26
"
Par doe Woodman
THE PI CTU R9GO&R
MARCH 1922
%
I wonder
how often
I have gazed
at this neat
Sir Gilbert Parker dis, itssi>i» a film with George
Mel ford, Milton SUls and Ann Forrest.
Visitors are not permitted at this
studio. There can positively be
no exception to this rule.
liitlc sign hung in front of some California studio ? And the
.shameless little sign stares right back at me, unwinking
little liar thai it is, pretending thai i1 means what it sa
erybody inside the studio, from the director-general to
the least important extra, wishes thai it did mean it, hut
it doesn't far from it. What that little sign really means is :
William Far nam and his
fellow-actors entertain a parly at the Fox studios.
Visitors Not
Permitted
But the studios have to admit thousands of
them just the same. You will be interested
to know how it is possible for certain
persons to get inside and watch pictures be-
ing made, and why everyone cannot do so.
We don't want you in here ; we'll keep
you out if we can but sometimes we
caul.' I or, despite all positive ruling to
the contrary, thousands of visitors pass
right by thai sign and get in. leaving
greater numbers of would-be visitors out-
side simply bursting with longing to get in
and see the pictures actually being made.
It is hard, you know, when you ha\e come
to California and are a movie fan, and
want to tell the folks in England just how
you really saw Mary Piekford's curls and W'.dlv
Heid's winsome smile, that you have to go awa.5
without a single glimpse of either.
Most of the studios in California have
grown in a mushroom sort of way with only one
thing in mind more space to produce more
pictures. Visitors are sorely in the way. Coming
to Los Angeles, as they do. by the hundred
thousand, they could flood the stud:,js if
they were given easy admittance, so that
'here would be no room lor the actors to
nn
Then, again, in the short time that visitors
spend at the studios they can get many false
impressions that' hurt the motion-picture busi
ness Suppose a picture is made in which part
of the action takes place on a ship at sea. The
principal actors will have to go out on a ship for all of the
longer shots, and some of the others pertaining to that Part
of the story, scenes taken on deck and the like But su
pose that later on in the picture there is a cabin so
which can be taken much better at the studio.
The ship is supposed to be rolling .0 -< a, so it is ,111.1
MARCH 192/
THE- PICTUREGO&R
r,n the set thai stage hands shall roll
the cabin on rockers to produce the
effect thai real waves have at
,,,.;, The scene is being taken when
,) ( rowfl nf visitors arrive. They
die take cabin, they see the stage
liai Is rolling it. and they at once
leap to the conclusion the whole thing
is a fake.
Seeing a few fakes, people go off
convinced thai the picture business
,11 faked, and when they read of
a genuine scene being filmed they
take it with a knowing air and a
tongue m their < heek,
Mm li more harm is done by those
visitors who happen upon a scene where
a clirectoi is trying to work up his
people to '.he proper facial expressions
for their roles. When a director does
this he talks to the actors in any way
he thinks will get results. The actors
understand this , they expect it, and
they lend themselves to it by trying
to let his words influence them. Hut
the casual visitor is always shocked—
and no wonder '
To come upon a set where a director
is trying to induce tear in facial ex-
pression l>v making awful threats to
owering, whimpering girl is enough
io upset any visitor who does not
understand the game.
In directing one picture in which
Agnes Vyres appeared, that young
woman was supposed to have lost her
love for her husband. The husband,
returning after an absence, insists
upon their old relations being resumed,
and the heroine, loathing him, spurns
him Miss Avres didn't loathe suffi-
ciently to impress Cecil De Mille, and
he started to help her to get tlu
needed expression. lb" described the
character of her husband, a very un-
pleasant character, reeking with \ [<
with exactitude and minuteness, while
Miss Ayres listened in ever-growing
horror, her imagination carrying De
Mille's words to the actor playing the
part of the husband. De Mille, de-
lighted at the effect, went on and
on. He didn't spare terms. He made
♦that advancing husband a revolting
creature, and when the camera b
to crank, Miss Avres had that look of
absolute loathing for which they had
worwed so hard. And then the actors,
relieved of the tension, and the
director as well, became conscious of
someone in the background, si
one fastening them with intent
gaze. Turning, they beheld
six white-haired, conven-
tionally attired, elderly
gentlewomen, a ddlega
tion from some reli-
gious society in In-
diana The six w re
litcralU rooted to I he
ground in horror.
As they filed out,
both director and
actors were morally
cert a in t h a t
the motion r pic-
ture business was
damned in their c
and that six tongues would carry tin
awful news to perhaps six hundred
motion picture fans in small towns
thousands of miles away.
" Male visitors are likely to regard
i sses as all of a type, and open
to any kind ol advances," said on
lie- men in charge of visitors
studio. Men travelling without
their' wives seem to think the
girls in the studios are just waiting
for them Maybe some of them
but not the stars. And, anyhow,"
he added. " a girl pretty enough to
get a job in pictures is usually pretty
enough to make all the appointments
she wants without depending on men
who happen to come in.
Hi len Christine Bi
it the Welsh-
Pearson
studios.
Movie stays often visit one another mi the set. Viola Dana is here
fan watching Bert Lytell and Alice Lake at work.
10
THE- PICTURE-GOE-R
MARCH 1922
Fritz Lieber
as King
Solomon.
^
AM PING
m tiTww&maem
$%?rm
A scene from " The Queen of Sheba.'
Standing on his seventy-five-foot tower
directing ten thousand people mov-
ing about an arena covering one 1 undred
and fifty acres, where Solomon, amidst
the glory of his Court, was watching
the thrills of a chariot race, Director
J. Edwards turned to his assistant
with an anxious look. " I hope none
of those people take it into their
heads to smoke," he said, with
sudden apprehension.
In that passing incident one has
an interesting sidelight on the anxie-
ties that beset those who go down to
the studios to produce super - spec-
tacular films for the screen. Breadth of
vision in scheming out colossal sets and huge
crowds has to be blended with an almost
uncanny thought for tinydet' ils. Had only
one member of the vast concourse that
thronged the arena, situated amidst the roll-
ing hills of California, lit a cigarette, films
worth tens of thousands would have been
wasted, and the whole of that expensive
setting for The Queen of Sheba picture
would have had to be re-taken.
The reconstruction of his-
tory on the screen is an
exacting task. The per-
spective of passing
centuries has, in 1 lie
case of Hi bin al his-
tory, conjured up
in the minds of the
public impressions of
spectacular luxury exist -
ant in ancient times. And
producers have to live
^ihfe*
up to these traditions whether
the most authentic records prove
them to be strictly accurate or
not. From our schooldays the
glory of Solomon and his Court
has stood for splendour that
knew no limitations of wealth.
So that any modern screen
reflection of such times would
have earned ridicule had it had
any suggestion of tawdry, or
unconvincing tinsel, where glit-
tering display should have been.
Hence the producer of the
love story that is woven around
Solomon "and the beautiful Queen
oi Sheba had to face a tremend-
ous undertaking For a mam-
moth spectacle was inevitable.
MAKCr! 1922
THE- PICTUR&GOE-R
II
King Solomon
jt- -
One of the wonderful sets in the great Pox spectacle, " The Queen of Sheba."
if the picture was to fit in with the
modern ideas on the legendary glory of
the regal lovers' surroundings, three
thousand years ago.
After five months of delving amongst
musty volumes, when Virginia Tracy,
who wrote the scenario, was turned
loose amongst hooks including the
Bible and the Koran, the work of pro-
ducing the colourful story commenced.
Before the barrage of cameras that were
ultimately turned on the mammoth
spectacle coidd commence to click, the
building of temples with colonnades
of As vrian pillars, the erection of the
Tower of David and the Throne Room
of King Soloman nad to he completed.
Experts armed with information labori-
ously gleaned from historical books
planned the thousands of costumes,
which, despite their scantiness, had to
be correct to the smallest detail.
These preparations represented but
the initial outlay of the picture that
cost £200,000 in its entirety.
Although the spectacular appeal of
the picture, with its gorgeous Temple
settings, luxurious cavalcades in the
desert, and courtiers and Arabs moving
before regal backgrounds and buildings,
captivates, it is the scene of the
chariot race that lasts in the memory.
A hippodrome, consisting of an
immense oval measuring 1,250 feet by
3,100 feet wide, was constructed for
the purpose. The race - track was
specially built with a view to allowing
ten chariots to race abreast, and it
measured 150 feet across. An eight -
feet wall enclosed the course, on one
side of which the ancient version of
our modern grand - stand held the
proud Solomon and his Court. In the
original the scene must have been a riot
of colour, with the multitude of Oriental
costumes and the festoons and banners
waving from the tall pillars placed
every few yards around the arena.
When one is outlining the descrip-
tion of this ancient splendour, the
Betty Mythc as
The Queen of Sheba."
introduction of the name of that
very modern cowboy screen favour-
ite, Tom Mix, may sound somewhat
bizarre. But the fact remains that
Mix had a big hand in the presenta-
tion of the cspe< tally thrilling chariot
race. He spent several weeks select-
ing the fastest and- tamest horses
that Could be obtained, and he was
responsible for the training of the
chariot drivers who hurtled with
such headlong speed around the
three-quarter-of-a-mile track. Mix
did not actually figure in the race,
but he supervised it from near-
by, having changed his familiar
sombrero and leathers for an Arabian
tunic. When two of the four-
horsed chariots overturned amidst a
'/'.nnJinufd on page S7-
THE- PICTU REGO&R
MARCH 1922
h's attitude
imm ufter
• it "I
the. .
W "
^l^radition has always pictured Father
1 Time enerable old gentle-
man whose wrinkled features
aged limbs suggest that only the
utilisation of the proverbial seven
tie boots could enable him to
display any attempt at velocity. The
advent of the film camera, however,
has proved that this impression of
the patriarch with the hour glass is
somewhat erroneous. Father Time
has been keeping his tongue in his
hoary cheek, and for centuries has
hidden from the human eye man
the most interesting secrets of his
domain For it has rem, lined for the
lens of the kinema camera to record
happenings that time lias kept- from
the natural vision, owing to the fact
that they have transpired with
swiftness involving hundredths of
seconds.
Take a powerful lens that relent-
lessly registers the tiniest details of
ry subject on which it is directed;
place behind it a line of highly sensi-
I celluloid that hurtles through
velvet lined slots at speeds ranging
hum s;.\t;'in to one hundred and
sixty pictures a second, and you have
what is practically a " third eye
directed on to the happenings of the
universe.
It was the film camera that pro-
vided the final and the most con-
vincing evidence for the defence in
connection with the controversy
■ ntly raged round the knock out
blow that Carpentier administered to
(Ook when he sent the Australian
heavyweight to the boards lor the full
count
The Frenchman, when he delivered
Ins t.w o lightning "rights" to his
opponent's jaw, left the second blow
.'} hove - 1 li-
ma r It able
photographic
record of the
effects o) poison
git*, bombs from
a /i I m made to
discover the pene-
trating possibili-
ties of the gas.
Right : H a r r v
I anion g-i
golf lesson lie
the movie
camera.
THIRJD
EYE
" What the human eye does not see, the ey»
of the movie camera will account for " runs
the twentieth-century version of the old saw.
For nowadays human beings possess a Third Eye
in the all-observant lens of the movie camera.
when one or both of his hands are
on the Moor, the incident naturally
created a great deal of excitement and
comment. It remained for the film
camera that was taking pictures of
the contest to prove thai Carpentier
did not foul his opponent and lose the
fight. The screen showed the French-
man's fist smashing on Cook's jaw a
fraction of a second before the Aus-
tralian's glove reached the ring floor.
It was a dramatic incident that hap-
pened with a rapidity that confused
the human eye.
When Moran. the American heavy-
weight boxer, swung his famous
Mary Ann " punch with terrific
force to the chin of Joe Beckett, who
at the same moment was getting in
a heavy right to the Pittsburg fighter's
face, both these giants of the King
fell to the boards together.
The onlookers at first thought that
they had witnessed the unique occur-
rence of a double knock-out. Hut
Moran scrambled to his feet whilst
Beckett writhe;! on the floor and
took the count, and the American
protested vigorously against the sug-
gestion that the British champion
had knocked him down.
And the film camera proved that
Moran was right. A long focus lens
picture of the knock-out depi( ted
Beckett falling in a huddled
whereas the lengthy Moran had both
his arms stretched out to break his
fall which had been caused by the
fact that he had tripped over his
opponent. Those few brief si
that showed the American dropping
on to his hands proved beyond doubt
that his actions were not those of a
man whose brain was reeling from the
effects of a heavy blow.
It was at the time of the sensational
Derby a few years ago, when Craganour,
the winner, was disqualified for
swerving on to \boyeur. who was
awarded the race that the possibili-
ties of the film camera as an aid to
the occupants of the judges' box were
first realised. For the film pictures
ot that historic race provided realistic
evidence of the amount of boring
and bumping for which Craganour
was responsible, and the lens con-
firmed the good judgment of the
Stewards Tin?- method of recording
MARCH 1922
TH& PlCTUREGOE-R
13
every movement of horses participating
in big Turf events has nou advanced
a stage On a Continental racecourse
a film i uncra set amongst a maze of
levers, cog-wheels, and sliding plat-
forms, automatically .flashes into action
w/ber. the racehorses speed past the
box, The picture of the finish
is taken at the exact angle at which
the judg< is directed, and thus
human and mechanical observations
duplicated, although the mechani-
cal process in cases of " neck-and-neck "
finishes is invariably the most accurate.
The large assembly that saw New-
man make his recent record break of
1,274 were astonished when the
referee brought one of the greati
individual efforts in the history of
billiards to a close with the words :
" That was a foul shot, sir." Newman
had infringed the rules in a manner
that escaped the eyes of most of the
spectators. In playing an easy shot
when he went oil the red ball into the
right-hand top pocket, the champion
grazed his opponent's ball with his
cue. The relentless eye of the film
camera recorded the incident in every
detail, however. On the screen it
showed the second white ball distinctly
moved from it's stationary position as
Newman, with the slightest deviation
of his cue, brushed the shining surface
of the ivory resting behind the tip.
The ordinary type of film camera
that takes pictures at the rate of six-
teen a second has proved to be a
very effective discoverer of high-speed
movements that are hidden to normal
sight; but the Ultra-Rapid camera
is still more deadly in its penetrating
powers. For the Slow-Motion appa-
ratus films at the amazing speed of one
hundred and sixty pictures a second,
and it plays amazing tricks with time.
It was the Ultra-Rapid that dis-
covered just how Hitch, England's
fast bowler, created his deadly swerve
when swinging the ball up the pitch.
The screen pictures of the famous
cricketer showed every movement of
his arm, wrist and fingers. • For his
delivery from the wicket was slowed
down to a speed less than ten
times that seen on the cricket field.
Few people realised the speed and
accuracy with which Strudwick de-
flects a fast-travelling ball from his
gloves on to a wicket until
the film camera analysed
every detail of the well-
known wicket-keeper's light-
ning methods. The subtle
twist of the wrists which
enables Hobbs to "cut"
a ball with eye-deceiving
speed through the " slips "
was also a discovery of the
slow-motion cameni Cricket,
which, of necessity, must
be watched by the public
from afar, is likely to
secure still greater interest
now that the lens of the
film camera is able to
demonstrate the details of
the science that lies behind
lirst-clnss play.
e .- A pictorial record showing how
Newman accidentally disturbed his
opponent's ball when making a shot.
Circle : Carpenticr knocks out Cook.
Below : The finish of the lieckett-Moran
fight showing hotv Moran stumbled after
knocking out his opponent.
Those who have witnessed a para
chute drop will remember the few
breathless seconds that ensue between
the time that a huddled mass falls
from the aircraft until the life-saving
apparatus folds open into an umbrella-
like contrivance. To those on the
ground the parachute and its human
freight appear during those moments
to be little but shapeless falling objects.
In reality, many things are happening
with lightning rapidity. The silken
folds of the parachute arc unfurling
with a preconceived symmetri
motion, ropes are disentangling and
roppmg into position, and valves
automatically adjusting air-prr
It required many years of experiment
and research to develop the parachute
into its pre>ent reliable form. And the
film camera played a big part in per-
fecting the airman's " life proted
The immobile eye of the lens lias been
turned on to experiments
with explosives with very
useful results. A camera was
recently placed very near
to the danger zone when
the effects of a new type of
poison-gas bom were ex-
perimented with in con-
n with the war-
Alabama. When the in-
specting tug came along-
side t xma, the fumes
were so strong that the
partv of experts who were
studying the new gas were
ard. But
tire film camera had
of the secrets they wished
to know securely embalmed
in rolls of celluloid, p. r. m.
14
TH & PICTUPEGO&f3
MARCH 1922
Round (&
Vtbrld <?
Mary Johnson,
the Swedish
slar.
This article shows that popularity may some
times be a matter of geography.
Movie stars, like coming events, cast
their shadows before Many
thousands of miles before, sometimes. On
the good ship Kinematography, with Per-
sonality at the helm, the screen-star circles
the globe with an e;ise and rapidity that
sends magic carpets and seven league
boots to the very bottom of the class.
And poor old Puck, his forty-minute
record broken at last, has to hand
his World Championship medal
back to Shakespeare, and go and
take Ins seat amongst the Also-
rans.
Many times over, these shadows
fare them forth, according to the
reception they receive. And this is
as varied as the temperaments of the
varied races of the earth. Tastes in
stars differ widely : here countless thousands
of picturegoers throng the kinemas when
Gloria Swanson's name heads the cast ; there
the famous Paramount star means less than nothing,
and Ruth Roland or Eddie Polo reigns supreme.
Box-office returns, of course, are the surest guide.
Hut to the stars themselves their mail-bag is a
pretty good indicator. When the foreign mails come
in, and the Hollywood postmen groan under the
weight of the hundreds of missives addressed to one
or .1 not her of the world-famous stars who live there,
the United States Revenue Department know that
a run on the stamp counter is imminent, and prepare
stacks of them in advance.
Attraction of opposites plays its part, too. May
Allison, the lovely little lady from Georgia, who is
the screen's perfect blonde, is the delight of the
Latin American section of film lovers. A typical'
fun-loving American girl, her frank, fresh beauty
and crown of glittering locks appeal, by force of
contrast as much as anything else, to the darker,
more serious denizens of South America and kindred
countries. France appreciates the subtlety of May
Allison's art, the satirical touch that is plainly
discernible about her Society stories ; England
admires her golden beauty, and would verv much
like a chance of hearing her Dixie a< cent.
There are a few stars who are popular all over the
world. One of these is Pearl White. Take a peep
over Pearl's shapely shoulder as she prepares to deal
with her foreign correspondence. If you arc a
stamp-collector, your fingers will itch to get at the
envelopes thereof. From the four corners of the
earth they come : from India, Australia, Africa,
Java, Switzerland, Central Europe, New Zealand,
Central America ; there's one from Mesopotamia,
and four from Russia. Yet for every one of these,
you'll sec two with the Paris postmark. For Paris
adores I'earl White above every other movie star.
Even " Chariot," as they have dubbed Chaplin,
takes second place. Pearl was the first American
star Paris set eyes upon. During the
dark days of 1914 and after a new
Pearl White film was seen once a
week, and the thrills of Pearl's serials
distracted the thoughts of many
anxious ones, and made them forget
their own perils in those of the
Serial Cjueen. India, too, worships
Pearl White; but Ruth Roland,
Eddie Polo, Helen Holmes, William
Duncan, and Elmo Lincoln also
share India's appreciation.
Charlie Chaplin's popularity is all
but universal. Japanese " fans " by
the hundred, from high-school boys
to elderly merchants, flock to see ln^
films. Germany — all Europe, in fact —
America, both North and South,
delight in his antics ; but Asia is less
susceptible. India (Calcutta, Madras,
Delhi, and such towns) frankly dislike
him. Because of his " sameness,'' it
Wallace Reid.
MARCH 1922
THE- PICTUP&GO&R
15
is averred. Their choice falls on Max Linder,
M. Prince, and Harold Lloyd, when they
wish to be amused.
The largest section of Wally Reid wor-
shippers would seem to reside in his native
America and Great Britain. Other countries,
of course, contribute their share, for, taking
it on the whole, Wally seems to be every
girl's ideal of masculine charm, whether she
be Italian, Swiss or Colonial. Winner of
innumerable magazine popularity contests,
he can do, and has done, so many different
things, that by all the laws of cricket he
should be a most tiresome and awe-inspiring
personage. On the screen, however, besides
being remarkably good-looking, he is an
intriguing combination oi actor, athlete, and
rather mischievous boy, and he certainly
carries his honours with great grace. But, as
they say over there, " He's from Missouri,"
which would account for a lot of things !
Marguerite Clark " fans," too, abound most
in U.S.A. ; her popularity abroad is mostly
among English-speak-
ing races.
In complete con-
trast to Wally,
an American and
a favourite i n
America, are
Sessue Haya-
kawa and Mary
Johnson. Sessue,
like the
prophet,
is almost without honour in his own
country. Few of his films are
shown there, and these are un-
appreciated. It was different
when he was on the stage ;
but, as a film artiste, Haya-
kawa's countrymen haven't
much use for him. Others
have, though ; particularly
in the West, where his
sternly handsome face and
restrained work have endeared
him to thousands. India h.is
hardly heard of him, ant
Switzerland is in the same boat
but he is greatly beloved in Italy,
France, and Spain.
Although she rejoices in the title of
" Sweden's Sweetheart," lovable little Mary
Johnson has never- received a single " Ian
letter from Sweden. The reason is extremely
simple. There are no " fans " there. The
star, as a star and a personality, simply
doesn't count. The Swedish picturegoer is
very critical as to story, technique, and
acting, and highly appreciative, too ; but as
for writing to movie stars —perish the thought !
Mary's mail-bag, however, is well filled with
contributions from England, America, Switzer-
land, Africa, and many other lands.
Children of all countries and of all ages like
Mary Pickford, and throng the kinemas show
ing her films. Excepting in certain parts of
Asia, where neither her art, nor that of Fair-
banks, W. S. Hart and Griffith is well under-
stood. New Zealand, too, is only mildly en-
Lejt : Gregory
Scoil.
Violet Hopson's
warmes' admirers
are picturcgoers in the
British Isles and A ew Zealand
Charles Nay.
thusiastic ;
yet in Mexico,
a typically
Latin country
(Latin races usu-
ally prefer to have
the tragic side of
life depicted on the
screen), Mary is the
most popularscreen
star of them all.
Tahiti (South
Sea Islands),
too, adores
her. But
picture-
goers all
the world
over get
the " Make
me a child
again, just for
to-night " feel-
ing at times ;
and Mary Pick-
is the one film-
star who can do this.
Also, there is never a
[Continued un pae,e .57.
TME- PICTUte&GOE-R
MARCH mi-
S h oo t / n g a
m
of an up-
i n - t h e air
scene.
When shooting railway scenes, the came)
man may be called on to operate from
tncomfortable positions. In some
a platform is built out from the
>f a train, as in the picture al
If screen art can be linked with the
methods of Mars, the producer's
shout of " Camera " is equivalent to
the Sergeant-Major's stentorian roar
on the parade ground when he calls
,i battalion to " Attention." It is when
the final rehearsals have been carried
out, the arc lamps have flashed into
their full power, and the final touches
have been made to the set that the
word " Camera " gives the signal for
the men behind the lenses to com-
mence " shooting the scene."
Hut it is not always in the com-
fortable precincts of the studio that
this directional shout starts the wheels
of produ ion revolving. At times it
htam
a clost
people sitting be-
fore a pre, the
xiera is oper-
ated from behind
the fireplace.
is blared
through a
egaphone to
artistes cling-
ing like Hies to
the side of steep
cliffs, swirling
through rapids on
logs, or clinging to
the cable swinging
from a hundred-mile-
an-hour aeroplane, a
^^ tually happened with Ruth
Roland in her serial, Rutli of
the Rockies.
Neither is the camera-man alway9
standing happily behind his firmly
tripoded filming apparatus. Often he
is balancing himself with difficulty on
a narrow platform built on the bonnet
of a motor-car whilst he films the occu-
pants of the vehicle, or lying on his back
operating the crank whilst he directs
his lens on artistes enacting their parts
on the edge of cliffs.
The most thrilling moments, however,
when the shout " Camera " comes to the
operator's ears, is when the unexpected
happens, and thrills such as the acci-
dental collapse of the great oil derrick
that threw Charles Hutchison into a
tree and broke his wrists in The Double
Adventure, or the sudden death-dive of
the late Lieutenant. Locklear, when he
fell to his doom some months ago.
MARCH 1922
THE- PICTU REGOE-R
17
/ was commanded by Earle to dip my fingers in the grease and
smear my face and ears — evenly.
(Pi
MAN in t/ie
CROWD
THE great day had come !
The hoped-for, longed-for morn-
ing had arrived 1
It was no more next month — next
week — not even to-morrow — but TO-
DAY. I rose atingle with expectation.
" Dress — smart lounge," I repeated,
over and over again.
I attired myself like the juvenile
lead in a West End revue. I brushed
and patted myself to Beau Brummel
perfection.
Masculine vanity is a shame-
ful thing.
i
megaphone—" That idiot ! " and point
unerringly at me ?
Then I consoled myself.
Anyhow, I was engaged for the day.
Sidney Jay — most courageous of
agents— had seen to that !
Thanks to him, I had a chit in my
pocket saying, " Appear at the Ideal
Studios at 9.30 a.m. — Dress — smart
lounge— Salary, £1 is. and expenses."
' That reassured me.
The kinema train steamed
out from St. Pancras at
8.35 a.m. — an unearthly hour
for one whose usual day lies
between noon and midnight.
But I did not think of that.
I was a passenger in the kinema
train, and at the end of an hour's
journey was — Adventure.
I thought of all the thousands of
, young men and maidens who would
envy me.
I thought of the Society lady who
went to a kinema producer and
offered him ^50 for a small part.
I thought of what that blunt, little
Cockney had replied.
I shall not repeat it here.
The answer was quite unfit for the
ears of ordinary, decent society.
I smiled.
Then I lost my nerve.
Panic seized me.
I had a bad attack of pre-over-the-
top wind-up. .
Would I remember what I had
been told ?
Would I make an unutterable ass
of myself ?
Would Denison Clift suddenly stop
taking his picture, cry through a
If you are screen-struck ; if you yearn to spend
a day as a studio " crowd- worker, " step right up
and digest this article. Perhaps when you have
read it, you will change your ambitions ; but, in
any case, you'll enjoy this vivid pen-picture of a
day in the life of a film-super as seen by " the
man in the crowd."
I looked round the carriage with
something like confidence.
The compartment was full of actors
— real live actors — each with their
little chit. They were talking stage
and screen, and exchanging reminis-
cences of days gone by.
One of them turned to me and
said, " Old man, you remember the
stage at Camberwell Palace ? "
I nearly fell off my seat with shock.
He took me for a brother actor !
I resolved to brazen it out 1
My resolution would have been
hopeless, however, if I had
not met Edward Earle — a young man
not yet 20, the brother of Frederick
Earle, known to all playgoers in both
England and America.
Edward is concentrating on screen
work, and will assuredly make good.
With him was Percy Milton, who
composes popular songs — such as ' ' The
Haven," which is the ballad of the
moment — plays the piano divinely,
and likewise is a coming man in the
world of films.
I must make mention of Edward
Earle and Percy Milton, because
without them my St. Pancras panic
would have been more than justified.
They alone saved me from abysmal
humiliation.
Arrived at Elstree Station, we pro-
ceeded by foot to the Ideal
Studios — the only incidents on the
way being supplied by the children
of the village. They have long since
become blas6 to kinema people. Screen
worship has departed from among
them. Yet they noted our passing !
Oh, yes !
One bright youth pointed to
me with a grimy finger of scorn.
" Look at 'Orace," he jeered.
" Ain't 'e a nob ? "
It was Elstree irony raised to
the 11-th degree ; but it was
music to my ears !
At least I had _ achieved the
first essential of my kinema day —
" Dress — smart lounge."
Nevertheless, it was with a recur-
rence of wind-up that I passed through
the portals of the studio.' I wondered
if the doorkeeper would " spot " me
and scornfully send me hurtling back
to London by the next train. I kept
very close to Earle and Milton, and
tried desperately hard to make com-
monplace conversation.
For an instant my feet faltered.
If I meant to " funk " it was now or
never.
The doorkeeper's voice smote my
ears.
" Pass along, please."
I had faltered !
But long experience of London
Tubes and 'buses has led me to
respond automatically to the " Pass
along " injunction.
I was inside ! I had crossed the
Rubicon of film-land.
I had burned my boats.
I was " for it."
18
THE- PICTURE-GOER
MARCH 1922
There was a quiet hum of con-
versation.
" Which is ours ? " asked someone.
" Sixteen," answered the doorkeeper
quietly.
He was human, after all.
" Sixteen," said Earle.
" Sixteen," said Milton.
I hadn't the slightest idea what it
was all about, but I lay low and said
nothing.
Presently we came to a door with
" iO " painted on it. It was our
dressing-room.
And now I was really in trouble,
for I hadn't the least idea about
make-up.
My two guardians said it would
be all right. 1 devoutedly hoped so !
The " call " was for io o'clock.
" We've just half an hour," I said
timidly. Can 1 do it in that time ? "
My guardians smiled.
I went hot and cold all over.
I had made a false move right away.
They explained that a " call "
never comes at the time it is down for.
" Ten ! " they said in chorus.
" They may want us by twelve. If
they do, we'll be lucky."
And then I was initiated into one
of the peculiarities of producers, as
seen through the eyes of artists.
They love to keep " crowds " wait-
ing.
The longer you wait the better
they like it !
Milton told me of waiting one day
from 9.30 a.m. till 8.30 p.m.
And seeing I am giving producers
away, I'd better do the same for
artists.
There is a studio in South-West
London which is not beyond walking
distance from a house of refreshment.
And there at any hours of the lawful
day you may find " crowds " waiting
for their " call."
They have " sneaked " out. They
have broken bounds, which is a
grievous sin. They don't know when
they will get back to the studio, but
they do know they will be back before
they are wanted !
" Make-up is very funny," said
Earle. " You'll find we all stand
around, perhaps for an hour. Then
someone comes in and starts making-
up in a great hurry, and we all follow
like sheep."
And it was so ! For at 11 a.m.,
someone came in and set about
the mysteries of make-up as if his life
depended on it.
It was as if an extinct volcano had
suddenly burst into eruption.
Mirrors, towels, pots and sticks of
grease-paint and natty little pencils
for eye-brows were simultaneously
produced like rabbits from a con-
jurer's hat.
I was commanded by Earle to dip
my fingers in grease and smear my
face and ears — evenly. I did my best
but nfy efforts were a rank failure.
Earle's practised hand put it straight
for me, and then I proceeded to No. 5,
which was not another dressing-room,
but the professional name for a yellow
grease-paint, which likewise had to
be spread carefully over my features.
I did better with this, except that 1
got half the stick of No. 5 on my coat
collar, and was informed that it is
nasty stuff to get out of cloth.
Then a touch of No. 20, which is
blue-black powder, on eye-brows and
eye - lashes, then copious powdering,
and I was like a soldier armed for
battle.
" You'll do," said Earle.
" All right," said Milton.
I looked at the jaundiced apparition
in the mirror, and I shuddered.
It was just 1 1. 1 5.
" The prisoner ate a substantial
breakfast and walked firmly to the
scaffold," I repeated, and wondered
how long it would be before our
" call " should come.
N' oon passed without incident. The
suspense was fraying my nerves
beyond endurance. Why did I come ?
What fiendish journalistic curiosity
led me into this fearful predicament ?
Someone is shouting something
down the passage way. I look round
for some way of escape. There is
none. I am trapped. My heart bumps
and misses wildly.
" All go to lunch. Floor at 1.30."
The relief is too great.
A whole hour's respite.
And lunch !
Perhaps 1 shall feel better when I
have fed.
1 wonder if they sell brandy.
" You want a lunch ticket," says
/ am waving my arms and shouting : " We want
our money, and we want it now ! " Next moment
I am pitched sideways. Taken off my guard,
I crash heavily. . . . A whistle goes.
MARCH 1922
Earle. Together we proceed to the
studio office.
The sum of is. 4d. changes hands,
and I am the possessor of a piece of
paper which says is. 6d., and means
food ! I am faint and can do with it.
We tramp away to another building
and line up to pass before an opening
in the wall from which we may choose
in exchange fpr our tickets— stewed
beef or shepherd's pie, and prunes
or apples with custard.
Plain food, but good !
I wish we could find such satisfying
value in Fleet Street.
Shepherd's pie and apples for me.
I feel better — a lot better.
Now let it come — what may.
I think what a humane thing it is
to give the condemned man a " sub-
stantial breakfast."
THE- PICTU RE-GOE-R
If I should walk that way I hope it
will be on a " full stomach."
[6
Mv
A
Back to our dressing-room. No
1 is an old friend, now,
I take a peep in Earle's mirror,
grease-paint is shining a little,
shining face is a cardinal sin on the
studio Moor.
More of Earle's powder.
Earle is sorry I met him !
That stentorian voice is in
passage again.
" All in the studio !
We troop out.
Dear old No. 16, what shall happen
before 1 see you again ?
the
is the
cry.
T
hrough an iron door, into a blaze
of lights.
Lights on the roof, lights on the
19
lioor, lights hanging proudly alone,
lights grouped in pillars — standards
they call them.
After the greyness of an English
winter day, they are blinding.
They redouble my confusion.
1 stick close to my guardians — well
behind them— and hope Denison Clift
won't see me.
Now you're supposed to be share-
holders in an oil concern ! "
Someone is speaking. But where ?
The newspapers have been full
of the misconduct of this company,
and you have come to get your money
back."
Of course ! There is Denison Clift
on a platform in the shadows behind
the lights. Beside him is a tripod
and a man who is doing mysterious
things with a cloth and shouting at
the same time to studio workmen
who are manoeuvring the lights. This
latter is the god of the camera.
Denison Clift is speaking again :
" Now group yourselves round
these two tables. These four gentle-
men are directors of the company.
Each director you see is guarded by
a bobby. 1 want you to rush these
bobbies and get at the directors."
My Rugby days may be useful here.
I want you spread out a bit,"
resumes Denison Clift. " There's a
gap here. Fill it up."
No one moves.
" One of you men at the back, come
forward. You. . . ."
Lord ! he is pointing at me.
I move mechanically forward into
a ridiculously prominent position. I
try to look at ease. I feel terrible.
The heat from the lights is making
me perspire. Will my face shine ?
We'll just try it over," Denison
Clift is saying. " Rush the bobbies
and shake your fists in the directors'
faces. Plenty of action in it. Remem-
ber you've lost a lot of money and
you're angry. Now when I say ' Go,'
you start, and I'll blqfw a whistle
when I want you to stop. Ready . . .
Go ! "
Break through ! " I say grimly.
I hurl a chair out of my way. Head
down I go for it. The resistance is
slight. I fancy there are goal-posts
ahead of me. And, hey, presto ! I
am waving my arms in front of a
director and shouting, " We want
our money, and we want it now ! "
Next moment I am pitched side-
ways. Taken off my guard, I
stumble across the studio floor and
crash heavily against a pile of props.
My blood is up. I rush back.
" Come on, boys," I am yelling.
" Get 'em. Get 'em. . . ."
A whistle goes.
The policeman I am " getting "
stops and smiles.
I rush on and collide heavily.
He smiles.
I pull myself together, rather shame-
faced. I have let myself go. I forgot
we were acting. I wonder if I've hurt
20
THE PICTU RE-GOE-R
MARCH 1922
anyone. Then I feel a stinging pain
in my side. I had fallen heavily, but
t did not notice it.
" Quite good," says Denison Clift ;
" but put a bit more devil into it."
We grin sheepishly at each other.
This time I remember I'm acting,
and I go gently with open palms
instead of clenched fists. T have a
terrible desire to burst out laughing,
but I know I mustn't.
The camera is purring satisfaction.
Clift is silent. The producer who
knows his business gets all his
speaking over before the
" take " begins.
The whistle goes.
The first " shot " is over.
Clift is speaking again.
" Now Mr. Fisher White
and Miss Betty Faire will
come on. When they appear,
I want you to surge towards
them, gesticulating."
This is easy. I have for-
gotten my panic. I go
to it !
" Quite good," says Clift.
I take it as a personal com-
pliment.
" Now Robert Loraine is
to come on from the side.
When he appears he will
jump on a table and speak
to you. Before he gets to the
table, hustle him. He will
try to calm you, but you
will refuse to be quieted.
Hustle him, but let him get
to the table."
This is good !
Many a time I have inter-
viewed Mr. Loraine in what is,
by comparison, the quiet dig-
nity of a theatre dressing-
room .
Now I have to hustle him !
We play the scene. I give
Mr. Loraine a hearty dig in
the ribs. He sends me spin-
ning away. Other hands
clutch at him. He gets to
the table. I follow. I
grab at his arms, and
make to pull him down.
Again the whistle.
This time, Cliffs
" Good ! " has a splen-
didly appreciative ring
about it.
Then right on to " close-
ups," and through it all
again in sections. We are getting
fagged.
The blaze of heat from the arc
lamps is testing our staying power.
I think I am sadly out of training.
I look at my watch. It is half-past
four ! We have been three hours
hard at it. It is no wonder we are
tired.
" One more shot," says Denison
Clift.
We go to it again.
The prospect of release is wel-
come.
We make the scrum a good one !
Denison Clift is pleased We know
he is satisfied, because he utters
the one word, " Finish."
We do not stand on ceremony when
we hear that welcome word.
We scramble to the pay office for
those " guineas, plus expenses." We
rush back to No. 16. I remove my
baptism of grease-paint. There is
nothing but streaks of yellow on my
coat collar to show that I ever was
an actor ! With Milton and Earle
I wend my way to Elstree Station,
The policeman, I am " getting " stops and smiles
I rush on, and collide heavily.
and the train to London. They are
talking " shop " — fascinating shop.
" Isn't Loraine marvellous ? "
I agree. . . .
Somebody is kicking me !
" Break through ! " I cry.
" We're at St. Pancras," is the
answer.
Earle and Milton are smiling down
on me.
I remember, now.
Elstree — St. Pancras.
I've been fast asleep 1
Early rising and oil company crash-
ing have been too much for me.
Now, up to the present, I think
I've handed out praise all
round, but here I want to be " real
nasty."
I propose to give the kinema actor
away.
In No. 16 I have said the con-
versation was shop, but carefully did
I refrain from saying that fifty per
cent, of the shop could be published
under the title, " Films in
which I have starred in
vain."
Remember I was in a
" crowd."
And evidently it is the
ambition of every crowd-
worker to be " seen."
You remember the Bairns-
father picture. " They've
evidently seen me ! "
I was right in the fore-
ground."
" For that bit I was the
picture." '
" Of course, people will
watch me rather than
Matheson Rosmer Ames."
That was the sort of con-
versation I heard .
Which being interpreted,
means that the crowd-actor
is so convinced of the bril-
liant way in which he
bridged a critical gap in the
film that he wonders why
the producer has not since
then offered him a star part.
On the studio floor on
several occasions I found
myself striving to be " seen."
In fact, being honest with
myself and you, I believe
that is why I went for the
policeman as I did.
Anyway, I admit I tried to
catch the producer's eye, and
it was with the greatest of
great" expectations that I
went to the trade show of
" Bentley's Conscience."
And I was never " seen " !
All my good work had
gone for nothing. All I
spotted was one fleeting
glimpse of half a face being
rudely pushed out of the
picture.
And the worst of it is I
had taken my wife with me.
Well, I tell you I've led a dog's life
since I
Also I've been to see Sidney Jay
about it. He fixed the whole thing up,
but he was most unsympathetic. He
pointed out that when the film was
pieced together all unessentials are
cut out.
I would see my friend, Paul Trent,
about it, but he is merely the author,
and, therefore, has no influence what-
soever.
Anyhow, I'm going back.
I've made up my mind to be
seen.
MARCH 1922
THE PICTUREGOE-15
21
&**
Ouida Bergere with her
husband, George Fitz-
maurice, the /amous
producer.
ELSIE CODD
A chat with Ouida Bergere, whose original
scene stories have laid the foundation of many
movie masterpieces.
Oh, I made that bit up as I went along."
We sat together by the fire in Ouida
Berg^re's cosy flat in Park Lane. She had
just been telling a new story, the one, in ,
fact, which will be the theme of her director-
husband's next undertaking after The Man
From Home.
I have met few people who can tell a story
as well as Ouida Bergere. You feel that she
thrills as much to its interest as you do your-
self. She is so intensely alive herself, that she
seems to endow her characters with something
of her own warm and vibrant personality, and
to make them really live.
It wasn't a fairy story Ouida Bergdre had
been telling me at her own fireside, but a very
poignant human narrative, so poignant and
human, in fact, that I found myself listening
to it with a suspicious and very feminine
moisture gathering in my eyes.
" I think it's splendid," I said, when she had
finished, and I was trying to make the pro-
duction of a handkerchief look casual and
easy. " And I just loved that bit about
the little stray dog." It was then that
she astounded me
by the frank ack-
nowledgment, "Oh,
I made that up as
I went along."
Afterwards she owned
to me that she gets a
good many inspira-
tions this way. Once
she has the outline
of her story, she will
. set to work gauging
the impression it
%_ conveys by tel-
ling it to her
friends.
And
impressions,
react, as it
upon her
imagination, ac-
cording to the
personality of her
listener, so that
quite naturally
little touches of
beauty, humour,
and pathos sug-
gest themselves,
and are woven into
the narrative " as
she goes along."
For years the
George Fitzmaurice pro-
ductions have
been intimately
associated with
the name of
Ouida Bergere,
for she has fur-
nished the script
of practically all her
husband's pictures.
I asked her whether she took
any active share in the actual work
of production, and she told me
that every night both she and
" Fitz. " go through every scene
which is to be shot on the following
day, discussing the psychology of
the characters in its bearing on the
action, so every movement and
bit of business is in harmony with
her conception of the different
parts.
She is very rarely on the " set "
with her husband. He knows
exactly . what her intentions are
in the matter of the script, and
she prefers to leave him to entire
concentration on his business of
production.
And so perfect is the spirit of
co-operation in this ideal working
partnership, that occasionally he
entrusts the direction of some pa -
ticularly " feminine " episode to
his wife — perhaps an emotional
" bit," or a scene in which a child
is the central figure.
" I adore children," she told
me, " and I suppose they instinc-
tively know it, and trust me. I
remember one small girl who gave me
rather a bad time in one of our pic-
tures. All day long I had been telling
her pathetic stories in the hope of
raising a few natural tears. But .she
was a sophisticated little miss, well
used to our studio tricks, and she
was evidently determined to make
me play a waiting game."
" Perhaps she knew that as long
as she could keep the tears bi.ck,
ilK-re was another story coming,"
I suggested. " You know I can
hardly blame her."
Mrs. Fitzmaurice laughed.
" I don't think I was in a fit
state of mind to appreciate so subtle
a compliment at the end of that
long hot day,'' she confessed. " My
imagination had simply run dry,
and' my patience was about ex-
hausted, too. I then tried a ruse
which I have never known to fail
me. I made a feint of packing
up my belongings, and said casually:
' Well, Dorothy, I see you can't
do it,, so I'll have to get another
little girl for the part.' That did
the trick. Tears of chagrin gathered
in her eyes, though she was trying
hard to stand upon her dignity.
I gave a secrot signal to the camera-
man, and w« got a beautiful shot.
And what do you think the little
rogue had the audacity to say after-
words ? ' I guessed you were only
bluffing, Auntie Ouida. And now
that's over, please tell me another
nice story.' "
22
THE- PICTUR&GOE-R
MARCH 1922
Q
thi
Jpentnq
<P)ritish Oyster
FIVE HOURS
HARE
in a
If an angel from Heaven
had told me that, one
day, I should go willingly
to Walthamstow, I would
not have believed it. If
Planchette had predicted
that I should motor joyously
along the Lea Bridge Road,
my reply would have been
sarcastic laughter. But I
did these things with a
smile one Saturday morn-
ing in February.
What powerful magnet
moved me to face unflinch-
ingly the horrors of darkest
London ? What lure drew
me from my native environ-
ment as surely as the suc-
culent may-fly draws the
trout ? What, as the Americans say,
is the answer ?
Turkish Bathing Girls.
Put yourself in my place. If Billie
Bristow had sent you word that
Kenelm loss was filming Turkish
Bathing Girls at the Band C Studios.
what would you have done ?. So did I.
When we entered the studio the
first thing that greeted us was a huge
notice six feet bv four, that read
TIME IS MONEY. " This, then,"
said I, " is utterly unlike all other
studios." But it wasn't.
For when we got there the studio
was as bare as the Turkish bathing
beauties. Everybody had been up
all night, but the " set " for Abdul
Bey's harem was only half-way towards
completion. Il was then i i | ,.
Kenelm Foss directing " A Romance of .Old Baghdad
hungry
Maybe you have read " Ten Nights in
a Bar-room " and " Five Weeks in a
Balloon " ? Tame stuff. Join our
joyous contributor in his five hours'
sojourn in the harem of Abdul Bey,
and see Life at our expense.
Kenelm Foss hoped to start shooting
round about | p.m.
Four hours in Walthamstow ! I
am as brave as the next man ; but I
did not take the sentence unflinch-
ingly. To cheer me up the Daily
Sketch man asked me if I was Billie
Bristow's brother. " There is a strong
likeness between you," said he. I
told this to Miss Bristow, and she
bore it very well. But I could see
that it had spoiled her week-end for
hcl .
It was a cold day, and 1 felt verj
sorry for the harem
beauties, who sat in
shivery circles round two
huge stoves. They were
experiencing the joys of
crowd work all right.
Whilst I watched, a man
came to my elbow and
murmured mournfully in
my ear :
"Vim can't hire
camels."
This was news to me, but I con-
cealed my ignorance adroitly.
No ? " I queried, without turning
a hair.
You have to buy em," said the
mournful man " I've just bought
two. One- hundred and twenty
pounds."
I told him that I should stick to
white mice.
We had to have camels for A
Romance oj Old Baghdad," continued
the mournful man ; " and so I went
down to the docks and bought a
coupk.
He proceeded to explain that camels
catch cold so easily that camel-dealers
dislike supplying them on the hire-
purchase system. 'The only thing to
do is to buy them, and their price is
MARCH 1922
THE- PICTU REGOE-R
23
far above canaries. After use, if they
don't die on your hands, you look
out for another camel-fancier, and
resell them.
We went to lunch at the studio
canteen, and I sat next to Manora
Thew, who has emerged from domestic
retirement to play " Sourma " in A
Romance of Old Baghdad. Her many
admirers will welcome her reappear-
ance on the screen, after an absence
of two years. There is an excellent
cast for this film version of " Miss
Haroun Al Raschid " : Matheson
Lang, Victor McLaglan, George Bel-
lamy, Douglas Munro, Henry Victor,
Jack Minster, Cecil and Evelyn Hone-
Douglas, and Dacia.
After lunch we returned to the
studio to inspect the harem " set,"
which was now getting into excellent
shape. It was a pretty scene — decora-
tive pillars, luxurious couches and
rugs, and a tiled floor with a sunken
plunge-bath. Workmen were adding
the finishing touches to the details,
whilst the bath slowly filled with
warm water that oo/ed from a hose.
Kertelm Foss, the producer, saw me
gazing lovingly at a megaphone that
lay behind the cameras, and smiled
approval. But just when I was
kidding myself that I had discovered
an authentic producer at last, he
spoilt it all by remarking : " Useful
thing that megaphone. I always use
it — when I am having my photo
taken for publicity purposes. The
public can't bear to see a producer
without a megaphone."
It was now three o'clock. The
" set " looked good, and people smiled
at each other and said : " Now, we
shan't be long." They kept this up
for quite a while ; but by 4.30 the
novelty had worn away, and smiles
disappeared.
" Little things the public doesn't
appreciate," remarked Kenelm Foss,
when the smallest details of the set
had been readjusted for the fiftieth
time. " Oh, damn that arch. We
must put some high-lights on it."
It was a pukka arch, properly con-
structed, and two feet in thickness ;
but owing to a freak of lighting, it
appeared to have no solidity. Whilst
the scenic -artists got busy to remedy
the illusion, Kenelm Foss commenced
rehearsals.
As it was a long scene, he rehearsed
it in sections, and shortly after five
o'clock the people seemed perfect in
their parts.
" Camera ! " was the cry, followed
bv the ominous injunction : "EVERY-
BODY OFF THE SET ! "
There and then I determined that
Casabianca was my favourite figure
in literature. I had waited five hours
to see the Turkish bathing girls, and
I was going to see them. Hurriedly
snatching a still-camera, I disguised
myself as a Press photo-
grapher, whilst the other un-
fortunate spectators departed
in column of route for the
nethermost portion of the
studio, casting many longing,
lingering looks behind.
Let me say, here and now,
that Mack Sennett's bathing
beauties have nothing -on the
Turkish variety. Nothing
on —
I thank thee, America, J
for teaching me that
phrase.
Filming commenced
at five-fifteen ; it
finished at five-
sixteen, when a
Right : Matheson Lang and Vic-
tor McLaglan. Below : Kenelm
Foss directing Matheson Lang
and Manora Thew.
resounding crack rang through the
studio, and one of the harem couches
collapsed, depositing on the floor
its burden of lovely femininity. Two
carpenters hurried up to render first-
aid to the couch, and at five-twenty-
two we were off again.
At five-twenty-four Kenelm Foss
stopped the camera with what was,
for me, a perfectly new curse. Six
of Abdul's wives had forgotten their
parts in the interim.
H — ! " said Kenelm Foss, as he
strode across the " set," but, like
the proverbial duchess, he said it
more in sorrow than in anger. Very
patiently he explained everything
once again, and at five-thirty, the
scene was really-and-truly filmed.
Then Kenelm Foss started work on
a close-up. " I want it thus — and
thus," he said, going through each
detail of the action himself. He is an
excellent actor, and can get inside the
skin of any part without wasting time.
" That's better. We'll shoot."
Then the assistant producer, who
has a voice like a stentorphone,
shouted " Quiet, please," and by
the time the echoes had died
away the whirr of the movie
camera was the only sound
heard on the set. The
studio became a haven
of peace. Not a drum
was heard, not a —
Cock-a-doodle-doo !
"**?!!!" said
Kenelm Foss, getting
inside the skin of his
part in four-fifthsof
a second. For at that
critical moment a
young cockerel pent
in a coop alongside
the set took it into
his head to sing
" Beloved, it is morn "
in the rooster dialect.
We laughed.
By this time I had
been so long in the
harem that I felt
like a Mormon Elder.
When I left, with my
friends, Kenelm Foss
was offering to give
his job away. There
were no takers.
You have heard how
difficult it is to get
intoa harem. Maybe.
But have you ever
tried to get out of one ? It was six-fifteen before
we found the right door, and passed through into
the pouring rain of a Walthamstow night Al-
though we could not find our car for a long time, I
whistled, " We've still got something to be
thankful for," as I turned up my coat collar.
" You're right," said the Daily Sketch man.
" We've got at least three things to be thankful
for."
We crowded into the car.
" What are the three things ? " I asked.
Firstly, we are not film producers," said he.
" Secondly, we are not film artistes. And, thirdly,
ive don't live at Walthamstow. Now, where the
devil did I put my pipe ? "
(Another British studio article next month.)
24
THE- PICTUR&GOE-f2
MARCH 192;
Maqaziqe
° Cover
Maid Marion of old-time England,
who figures in so many songs
and legends, was wooed and won by
bold Robin Hood ; and, if we are to
believe the story-tellers, " lived hap-
pily e\ r after." Maid Marion of
twentieth-century New York, how-
ever, has no use for a Robin Hood —
at least, not for the moment, She
doesn't want to settle down ; and, as
for living happily ever after, she
declare- she is perfectly happy whilst
she is at work. Her work takes up all
of her days, and most of her evenings,
SO we may take it that Maid Marion
of the Movies is very happy indeed.
Marion Davies is only twenty-four ;
a golden-haired, blue-eyed wisp of
youth, with an earnestness of pur-
pose and an indexible will, in curious
contrast to her dimples, and that lisp
of hers that becomes a positive
stammer in moments of excitement.
She is a little lady (her height is
5 ft. 4£ in ), but she is out to do big
things She has done quite a few
already, for she occupies a unique
position.
On the strength of her beauty
alone, Marion Davies became the
best-known girl in America, when
Harrison Fisher painted her as
" Morning." Marion was barely
sixteen at the time, and her fair,
fresh, spring-like beauty suggested to
the famous artist both the subject and
the title of his picture. " Morning."
like most of Fisher's work, was very
widely publicised, and eventually
found its way to the man in the street
via the cover of a popular monthly.
And thus did Marion Davies become
" The Magazine-Cover Girl."
Every artist of note (and there were
not a few of them) who specialised in
magazine covers, sought out Marion
Davies for his next effort ; and though
each naturally painted her according
to his own angle, the result, in each
case, was charming. Month after
month the radiant sweetness of the
Marion Davies
posed for Penrhyn
Stanlaws and many
other famous pain-
ters. Each one
delineated her accord-
ing to his own angle.
new beauty graced the covers
of the many monthly pub-
lications on the bookstands.
The Marion Davies Calendar
appeared, a Hamilton King
study of a girl strictly la
mode, in a toilette and hat
which was immediately copied
by every maiden of sixteen (or
thereabouts) who could afford
one. Such is fame ! The same
artist later produced a won-
derful poster impression of the
same cloudless-eyed beauty,
attired in a costume which
seemed to be entirely composed
of her birth-stone — ^diamonds.
James Montgomery Flagg
discovered an athletic side to
Marion Davies : his studies of
her strike a Grecian note of
girlhood, superbly fit and grace-
ful. According to Penrhyn
Stanlaw's first impression, she is pale,
almost pathetic ; his second painting
of her shows her as April : it is less
ethereal and more coquettish.
Nell Brinkley, amongst other
sketches, drew a composite of Marion,
showing the " Marion Davies face,"
expressing every kind of emotion,
from horror to happiness — a delight-
ful creation, which antedated Marion's
official entry into Movieland by a very
few weeks. Harrison Fisher, the dis-
coverer of the Magazine-Cover Girl,
painted her in a garden hat and a
Gainsborough-like costume, with a
basketful of buttercups and daisies,
herself ihc queen flower of them all.
But Haskell Coffin saw farthest of
any. He, when he painted the by
then internationally famous model,
suggested in his studies, her kinship
MARCH 1922
THE- PICTUREGOE-R
25
with those historic beauties of olden times, whose smiles sometimes settled
the fate of nations. And it is curious, to note that Marion Davies, now
that she definitely has her own place in the movie world, introduces
into each and every one of her star productions, vivid scenes and pic
tures of bygone days. Sometimes it is in the form of a mediaeval
inset, like that in The Bride's Play, where a marriage in the
luxurious Middle Ages is faithfully picturised on the screen. It
might be only a scene in a pageant (there was one in The Restless
Sex), but there is always something of the kind. In Buried
Treasure, it is the merest flash ; but the lovely star is shown
enthroned on a great barge on the Nile, amid surroundings
that Cleopatra might have envied.
Maid Marion came to the screen by chance. Her
earliest ambition was, like that of many fair-haired,
blue-eyed little maids in convents, to be a dressmaker.
Marion, though she was born in Brooklyn, N.Y., and
loves New York as only one of the Brooklyn Bunch
can love their home town, is of Southern origin.
Her own name is Marion Douras ; and she, her
mother, and her sister Ethel, have French blood in
them, too. Marion has all the chic of the tradi- —-«
tional Frenchwoman.
Both girls were educated at one of the many
convents at Hastings-on-the-Hudson ; and tiny
Marion's worst grievance was that, in all the little
plays and other dramatic entertainments given by
the pupils, she was always given parts that called
for " looks " rather than action. The parts with
" lines to speak " never came her way. History
doesn't state whether sister Ethel came in for any
of these. This sad state of affairs lasted till Marion
was turned fifteen, when, spending a merry week-end
at home with a pair of pretty chums who had left
the convent, she found that they were on the
stage in " Chin Chin," a light musical-comedy
show, in which Elsie Janis and Montgomery Rock
were the stars. This was the current attraction
at the Globe Theatre, New York.
Instead of two pretty choristers showing np for
the Monday rehearsal that week at the Globe, three
charming girls danced past the stage doorkeeper, and
successfully persuaded the manager that Marion Douras
was the very girl he needed to make his beauty chorus
complete. After that Marion went home and told
mother what she had done. Luck favoured her. An
epidemic broke out in the-convent the week-end she was
away, and an express message, asking Mrs. Douras
to keep her daughter with her for a few weeks,
awaited consideration when the would-be
actress arrived to plead her cause.
And Marion won — easily. Her
parents let her try her wings, and by
the time the enforced vacation was
at an end, she was securely launched
at the Globe, where she remained
until the end of the run of " Chin
Chin." It was about this time that
Harrison Fisher saw and painted
her as " Morning." Flo Ziegfeld
saw her, too, and cast
her for his new Follies
show. Marion had, at
first, only a thinking
part. " Ju::t like it
used to be at the
convent," she
plained, with an ag-
grieved pout. But, by
sheer will-power, and
[Continued im Page fb.
Three studies of
Marion Davies
that cover a ivide
range of expression .
26
THE- PICTURtGOE-R
MARCH 1922
A nn Little's screen career has been varied in the extreme ; she has played in
** every type of picture from comedies to blood-curdling serials. The Bear Trap,
The Roaring Road, Lightning Brice. and Square Deal Sanderson are some of her best-
known pictures. She is 5 ft. 5 in. high, and has black hair and brown eyes.
MARCH 1922
THE PICTUR&GOER
27
Stewart Rome was born at Newbury in 1886, and after a roving stage career
joined the movies in 1912. Some of his best-known pictures are: Coming
Thro' the Rye, Trelawny of the Wells, Snow in the Desert, Her Son, and The Great Cay
Road. He will be seen opposite Violet Hopson in several pictures in the near future.
28
THE- PICTUR&GOER
MARCH 1922
A school-girl named Gladys Walton was watching Bill Hart at work one day when
a movie director saw her and offered her a role in a slapstick comedy. Being
ambitious, she soon tired of this work, and ere long she had developed into a featured
star. Gladys will be seen this month in From Out of the Sky.
MARCH 1922
THE- PICTUR&GO&R
29
T^heodore Kosloff was born at Moscow, and won world-wide fame as a dancer
A before William De Mille tempted him to try his fortune on the screen. He
has since appeared in many of Cecil De Mille's film successes, including The Woman
Cod Forgot, Why Change Your Wife, and Forbidden Fruit.
30
THE- PICTUR&GOE-R
MARCH 1922
His full name is Antonio Garrido Monteagudo Moreno, but it saves a lot of time
if you call him Tony. Born at Madrid in 1888, he came to America at the
age of 14, and acted on the legitimate stage for many years. He is a typical Spaniard
in appearance, with olive skin and dark eyes and hair.
MARCH 1922
THE- PICTUREGO&R
31
Mary Glynne
wears a
sea-green
mirror velvet
evening dress,
with a
draped bodice
trimmed
with
diamanti.
32 — MARCH 1922
THE »|(
TOM
Tom Mix speiv
time in his dl
Tom's tropin
the Chase, I
As you wi i
pictures
Westn
3E-R
MARCH 1922- 33
34
THE PlCTUREGOtR
MARCH 1922
^Prbfc
Cross Eyed Comic
It's best
to back
Hen both
wavs VOU i
can't tell if
he's coming
or going.
A time there was when Ben Turpin
could follow the line of his
sion. Once he could look his mother
in the face and tell a lie like any good
little boy. Now he can't look his own
wife in the face, even when he is
explaining why he was detained at the
studio.
It all happened in the days of Ben's
music hall career. He had to im-
personate Happy Hooligan," and he
criss-crossed his eyes in keeping with
the character. Day in and day out
he persevered with the criss-crossing
until his eyes were firmly lixed in
their unnatural orbits. Thereafter he
became a man who couldn't go straight,
If Ben Turpin had lived in the days of
his infamous namesake, he would have
made a wonderful highwayman. But
he doesn't complain. He has just as
much shooting as Dick, and he makes
more money thereby.
Still, Ben has no regrets. He tells
sympathisers that when he has accu-
mulated sufficient money to retire,
he will undergo a surgical operation
and have his eyes straightened. But
in the meantime his face is his fortune.
Ben realises this fact, and his
director, Mack Sennett, holds the
same views, for Ben was recently in-
sured at Lloyd's against a return to
normal vision. The policy, one of the
strangest ever effected, provides for
the sum of 25,000 dollars to be paid
to the Mack Sennett Corporation
should Ben's eyes become straight
" from any cause whatsoever " during
a specified period. The premium was
a hundred dollars !
Ben's eyes secured him his first film
engagement. He was doing odd jobs
at the old Essanay studios when
Chaplin was making comedies, and
his eyes caught the director's. Ben
was given a trial in a film, and screened
so successfully that he appeared in
many Chaplin comedies.
After that fortune smiled on Ben.
Mack Sennett engaged him as a
featured player in his famous comedies,
and ever since then he has been a
member of Mack Sennett's beauty
squad. There are many people who
hold that Ben ruined his eyesight by
gazing at the Sennett bathing beau-
ties, but that is libellous. Outside
the studio Ben is a happily married
man, and all his spare moments are
spent at home and on his small ranch.
His biggest pet is a small cross-eyed
dog, with eyes exactly like his master's.
Inside the studio Ben Turpin is
deadly serious, as every true comedian
must be. He frankly confesses that
his comedy work is not spontaneous.
Those clever little flashes of fun that
raise laughter in his pictures are all
carefully thought out beforehand.
Every day before work starts at the
studio, Ben spends many minutes in
earnest consultation with his fellow
comedians. They discuss gags and
little bits of business, each providing
the others with ideas.
Screen-struck people who spend
their spare time in practising facial
expressions and postures before a
mirror will be pleased to hear that
Ben Turpin has the same habit. He
finds inspiration for many of his
funniest antics by trying them out in
front of a large mirror.
MARCH 1922
THE PICTUREGO&I2
35
O&rnrad irv Que&
tfM's\6utfc ^
B"
ack from the strife of
Indian wars and
the intrigues of frontier
station life, Captain Con-
rad Warrener filled his
lungs with the clean
spring air of England,
! and was supremely
L» thankful. It was good
■U to be back in the old
Aj country again, for the
call of India had not
entered into his blood.
The brooding mother of the East had
taken the years of his manhood, but
those of his youth were enshrined in
England. Now he could roll back the
years and live glad youth again as
memory paints it. This was not the
promptings of an impulse inspired by
the joy of a long postponed return to
his native country. He had planned
it all when he lay awake beneath
mosquito netting on torrid Indian
nights that banished sleep. And even
when sleep had come, wistful dreams
of old loves, old scenes, the old careless
happy hours of yesterday were his
companions of the twilight hours.
I did not expect you till to-
morrow," said the grey-haired valet,
as he gazed apologetically into the
bronzed face of the man, who had been
a careless laughing boy when he had
gone in search of world adventure.
' To-morrow I go to my old home
in the country, Dobson" laughed
Conrad. " To-night I write to Nina,
Gina and Ted to join me. We'll live all
those happy days of youth over again."
There was a far away look in his
eyes — eyes that were wrinkled with
the lines of worldly experience that
told of approaching middle age. But
Conrad's dreams were heedless of
passing years. Imagination was carry-
ing him back along the road to the
glad hours of irresponsible fourteen.
CHARACTERS :
Conrad Warrener Thomas Meighan
Nina - - Mabel Van Buren
Gina - - - - Maym Kelso
Ted - - - Bertram Johns
Rosalind - - Margaret Loomis
Mary Page - - Sylvia Ashton
Mrs. Adaile - Kathlyn Williams
Dobson - - - Charles Ogle
Tattie - Ruth Reneck
Narrated by permission from the Famous-Lasky
film based on the novel by Leonard Merrick.
That night he fought the feeling of
loneliness that comes to many bache-
lors when after - dinner optimism
prompts desires for happy company.
He wrote to the cousins that he had
not seen for more than twenty years.
" I, Conrad, your old playmate, am
back again," he told them. " We
must all meet soon, and what could
be happier than to relive our glad
youth in the old country house to-
gether ? I will wait for you there."
So, early the next morning, accom-
panied by the faithful Dobson, Conrad
set off on the first journey in quest of
his youth.
. JOWN,
REM I NO
Also ihai morning tliree letters were
opened by three mildly interested but
unenthusiastic cousins. Bachelorhood
was ever thoughtless where domestic
ties are concerned. Conrad's dreams
did not embrace such materialistic
considerations as families to be cared,
or household duties that enacted their
relentless toll of time. His call to
the comrades of his youth vibrated
chords of memory. But only the
wealthy, or the foolish, can afford to
dream at breakfast. The raucous
cries of tradesmen at the door, and
t the shrill note of children's voices
petulantly clamouring for attention
are effective dispersers of fancies.
Nina, Gina and Ted, had each found
such domestic responsibilities as these,
which came perilously near to wrecking
the fanciful craft that Conrad had
launched on the sea of his dreams.
" Poor dear Conrad. India must
have affected his mind," soliloquised
Nina.
"I'd love to go," thought Gina,
" but how can I leave the children ? "
Ted smiled at his old friend's letter,
and reflectively stroked his grey
streaked moustache.
" It's all right for Conrad with his
comfortable income to gallivant about
in the country. But how can I
neglect my business for such folly,"
he mused.
Conrad's dream craft was surely
foundering.
Then the frailness of human nature
intervened.
Memories of childhood that had long
lain dormant were resurrected in the
hearts of the three cousins. They
grew and strengthened in their appeal ;
penetrating the barrier of blascness
erected by increasing years.
Perhaps the old unforgettable thrill
of youthful happiness was waiting for
them in that old country house where
Conrad was keeping his vigil.
Yes, they would go after all. And
three hands that had hesitated with
lifted pens searching for words of
36
THE- PICTUR&GOE-R
MARCH 1922
excuse, now scrawled enthusiastic
sentences of acceptance.
They met at the rose-covered porch
beneath which the gate creaked with
lunges bent by the weight of swinging
children years before.
The women, because they were
women, thought " How she has aged."
The men clapped one another on
the shoulder. " You've filled out a bit,
old boy." They chuckled like school-
boys. And man-like, their survey of
each other's persons ended there.
Four hearts beat more quickly at
the sight of the picturesque old country
house. Jt was like brushing the
cobwebs from a long deserted nursery
and picking up the toys where they
had been thrown with youthful care-
lessness in preceding years.
But it was only the sweeping aside
of the cobwebs of time that provided
the pleasure. Toys, although fraught
with happy memories, strike a. note
of pathos in the hands of the middle-
aged .
With a cry of delight Nina lifted
from the wall the brightly painted
picture that had been the pride of her
school days, when she had laboriously
created it.
She peered at it through her glasses.
I was so proud of it once," she
said with a suggestion of wonder in
her tone, as though she was thinking
of one's lack of judgment in youthful
days.
Gina discovered the lurid anti-
macassar that her girlish ringers
had woven years ago.
Ted, with precocious memory ■"%«*_
unearthed from behind the i<
loose brick in the chimney #
corner the catapult that had J
been the cause of many
boyish escapades.
Conrad beamed on his
old playmates and, fram-
ing judgment on their
smiles, thought that
his party was develop-
ing into a great success.
His dreams were de-
ceiving him, for he
could nOt read the •
thoughts that lay '
behind the forced *
laughter. He did
not know that
Nina looked upon
her regained picture
as crude and silly,
t that Gina would
willingly have thrust
the antimacassar,
with its glaring
colours, shamefacedly
out of sight ; that
Ted had felt awkward and foolish
when Conrad had suggested that
he should go out into the garden
and try his catapult.
AS the evening wore on the guests
became more and more rest-
less. Conrad hail arranged the serving
of a dinner consisting of milk and
porridge and other unappetising com-
modities that formed the staple diet
of the four old friends in youthful
days. For Conrad's sake the visitors
kept up a pretence of enjoying this
crude fare. Ted, in desperation,
secretly produced a spirit flask from
his pocket and converted his glass of
milk into a draught that possessed a
" kick " that the milk of his nursery
days had never known.
When the curtains were drawn, the
visitors clamoured for a game of
bridge.
Conrad was adamant. They must
play the games that had inspired their
childish laughter twenty years ago.
Out came the battered ludo board
and the yellow-aged dice-box. Ted
yawned openly, and Gina and Nina
took courage from this first sign of
mutiny.
I'm so tired," pleaded Gina ; " I
think I'll be getting to bed." " And
I'll come with you," interrupted Nina,
seizing the opening presented to her
with suspicious enthusiasm.
" But we must have a song," pro-
tested Conrad, crossing to the* aged
harmonium.
" I^ook, here's the very same song
book that we had when we were
children."
He placed it reverently on the
music stand and prevailed upon the
bored Gina to play.
Four hearts beat more quickly at the
sight of the old house.
They sang of " Little Bo-Peep "
and " Boy Blue " with a ludicrous
lack of enthusiasm. The harmonium
squeaked and was gratingly out of
tune. Middle-aged voices that had
long lost the treble of youth, wailed
through the room.
Vet still Conrad thought that be
was recapturing the careless happiness
of youth.
" To-morrow I have planned a
picnic," he announced, as his restless
guests prepared to retire to the bare
rooms where they had slept in the
flickering glimmer of night lights in
their youthful days.
Ted heard the rain swirling on to
the thatched roof, and breathed a
prayer to the thoughtful providence
that had sent these tempestuous
elements.
"We can't go if this rain keeps on,"
he announced with ill-concealed en-
thusiasm.
But Conrad had not yet wakened
from his dream.
NINA and Gina tossed on their
hard bed, whilst fickle sleep
refused to be wooed.
" I wish I had never come," wailed
the dispirited Nina. "I'm so cold
and miserable."
" Conrad's a dear, but I believe
India has affected his mind," re-
sponded Gina, sorrowfully. " He's
behaving almost as though he were
in his second childhood."
" That, my dear," said Nina philo-
sophically, " is the blissful state into
which Conrad expected that we should
all drift when he invited us down
here."
" He ought to get married," said
Gina, with the air of a specialist
diagnosing a simple case. "He's
got nothing to think about
but his dreams. A wife
would be his salvation."
" It looks as if a doctor
will have to be our salva-
tion," announced Nina.
as a steady stream of
water commenced to
trickle through the
leaky thatched roof
on to the counter-
pane. The howling
wind outside hurled
the rain with in-
creasing violence
against the time-
battered covering of
the old-fashioned
house. The water
now poured through
the bedroom ceiling,
and descended in icy
rivulets on to the occu-
pants of the couch.
Nina reached for her
sun - shade and hoisted it
like a signal of distress above
the head of herself and her
disconsolate companion. ' The
first train home for me in the morning."
she announced, with tragic finality.
" And for me, too," said Gina,
wiping away the rain water that was
trickling dismally down her nose.
CONRAD was superintending the
packing of the picnic basket
when his distressed guests confronted
him in the hall the next morning.
MARCH 1922
THE- PICTUREGO&R
37
"We're so sorry, Conrad," thc>
chorussed ; " but we must be getting
back to Town."
The ladies sneezed and snuffled
dismally. Ted shuffled his feet and
fidgetted nervously with his watch-
chain. They all felt a
little conscience-stricken
at the look of disappoint-
ment that flashed into
Conrad's grey eyes.
" But I've arranged
a picnic for us all —
down by the old oak
where we used to go as
children," he protested.
His dream was toppling
now.
Dobson stood pathetic-
ally by with the loaded
basket of sandwiches and
ginger-beer bottles. He
and his master presented
a spectacle almost as
tragic as the forlorn
trio who were flourishing
their hand kerchiefs i
like dismal signals
of distress.
" Can't be done,
Conrad, old man.
Must get to Town
by the eleven
o'clock train.
Important busi-
ness appoint-
ment. Must be kept," jerked Ted.
" So be a good fellow and get a cab
up from the station for the ladies
and myself."
Conrad watched his unhappy
trundle away down the road, with a wistful
sadness in his eyes.
" Pack the bags, Dobson," he said, with
sudden decision ; " we're going back to
Town."
" You're getting old, Conrad. You're
getting old," his heart whispered as he
turned his back on his boyhood home and
left behind the memories of glad youth
that he had so dismally failed to resurrect
from the ashes of the past.
BACK in his town house Conrad sought
the solace of books. He chose for
his literary consumption volumes that
had been his companions in boyhood days.
For the warnings of his heart had not
altogether quenched the enthusiasm for
his quest in search of his youth. It
smouldered into bright flame once more,
when on the fly-leaf of one musty volume
he read the inscription :
" From Mary, with love to Conrad."
It was a memory of Mary Page, his old
sweetheart.
The book slipped unheeded from his
lingers as his thoughts went back to
the blue - eyed demure little girl whose
golden hair, with the imagination of
romantic youth, he had likened to line-
spun gold.
His memory pictured those breathless
moments when he had thrown his first
love-letter at her over the garden wall ;
the moonlight walks hand in hand, the
ecstasy of the first faltering kiss
What would he not give to live those
The rain now poured through the bed-
room ceiling. " The first tram in the
morning for me," announced Nina in
tones of tragic finality.
guests
Ted yawned openly.
thrilling moments over again.
" Why not," mocked his
imagination.
" Go to her and re-live those
glorious moments."
So Mary Page — although
that "was not her name, now — had a visitor.
" Will you go into the drawing-room,"
said the untidy maid, with the snub nose
and dirty apron.
Conrad nervously fingered his hat, and
his heart beat absurdly fast. He was
dreaming of the golden-spun hair of those
blue eyes that had made Mary Page his
fairy princess years ago.
" Wrell, this is a surprise, Mr. Warrener,"
gushed the stout, middle-aged occupant of
the drawing-room, extending a fleshy hand
in Conrad's direction. " Fancy you coming
to see me after all this time."
He blinked his eyes unbelievingly. Surely
this portly lady with the simpering voice
was not Mary Mary of beautiful memory.
He faltered out a belated welcome, and
sat awkwardly on an ugly horse-hair '-ouch.
You haven't altered, you know,"
sniggered Mary, sitting down beside him.
But there, we don't change very minh,
do we ? "
Conrad stole a guarded glance at the
ample proportions of his hostess. Then he
lied valiantly.
Of course, we don't," he assured her.
It's the thoughts of our youth that keep
us young."
A plump finger went up to Mary's sim-
pering mouth.
" Don't talk too loud about our young
days,'' she giggled, warningly.
" Henry— that's my husband, you know,
is so jealous/'
38
THE- PICTURtGOE-R
MARCH 1922
That's his picture on the wall."
The last shreds of romance fell from
Conrad's mind as he gazed upon the
crude portrait. Mary's spouse parted
his hair in the middle and trained it in
an oilv strand over his forehead. His
long moustache trailed over a bony,
characterless chin. The face that
t gazed at him from the wall reminded
Conrad of the raucous- voiced temper-
ance lecturer who had once visited the
school hall of his home town, and
with the aid of a villainous set of
glaringly coloured lantern slides had
discoursed on the evils of strong drink.
So that was the " Prince Charming "
that his J'airy Princess had married.
Conrad rose to go with a lump in
his throat.
" So nice to have seen you again,"
gushed his old sweetheart. " Come
in and see us any time."
Conrad assured her that he would.
But he looked straight before him
with grim intentness on his way to
the station. Not once did he look
back. Another chapter in the lexicon
of his youth had been closed.
rT"*o the romantic flowers and scent
1 are prolific revivers of old
memories and scenes that have brought
happiness in the past.
So it was with Conrad.
In an drawer he found a faded
rose entwined with ribbon that exuded
still a faint fascinating scent.
In a flash of happy recollection it
brought back to him the unforgettable
memory of warm Italian nights, the
scent of a woman's luxurious hair, the
thrill of soft arms wound round his
neck.
Mrs. Adaile, how he had loved her.
That faded rose he had taken from
her dress on that morning of terrible
parting when he had sobbed over a
boyish heart that no womanly per-
suasion would convince him was not
broken. That was love indeed. If he
could but bring back one hour of such
glorious life, surely the fire of his
youth would be rekindled.
The idea grew until it obsessed him.
He felt the call of the first passionate
love of the hot-headed days of seven-
teen.
" Dobson," he said with sudden
decision, " pack the trunks. We are
going to Italy."
He found her in the picturesque
garden surrounding the ornate hotel
where years before he had left her.
Her eyes, that in his youthful
ardour he had likened to violets
floating beneath crystal waters, had
faded a little. There were lines in
that rose petal complexion now, and
the familiar curves of her lips had
straightened into lines of worldly
experience.
Hut how he had loved her once,"
was the thought that thumped in his
mind. When he spoke to her he
visualised in his memory the beautiful
woman of the past. Imagination
brought back the bloom to the faded
rose, that in reality existed only in
the fancy that possessed him.
" You remember me — Conrad War-
rener ? " he asked eagerly, as he held
her hand.
" Mr. Warrener ? — the name is
familiar — where did we meet ? " she
asked. There was no light of recogni-
tion in her eyes.
" Years ago we parted at the very
hotel in whose grounds we are now,"
went on Conrad, with the enthusiasm
of a schoolboy recounting an adven-
ture. " Surely you remember this ? "
From his pocket he reverently
took the crushed
rose and held
it towards
her.
The ladies sneezed and snuffled iv
dismal chorus.
" You gave me that then," he said,
simply.
The faded bloom brought memory
back to her.
" Oh, you are that boy," she said,
with a flash of her white teeth.
" Do sit down and tell me where
you have been hiding yourself all this
while."
Conrad sat beside her until dusk,
striving to regain the threads of the
broken romance that he had known
with this once beautiful woman.
I have never forgotten you, and
always meant to come back to yoii
one day," he told her.
She was shy and self-conscious
under his ardent gaze. The love
speeches of this serious-faced man
were very different to the headstrong
affection that had come from him
as a young, irresponsible boy.
" I am sure you have often for-
gotten me," she chided him. " I ex-
pect that you are married now, and
have a big family."
He protested indignantly against
the laughing accusation.
' You have always been the only
woman for me," he told her.
And because she was human she
liked such pretty speeches, and she,
too, had cared once. So she was swept
along in the mirage of the dreams of
yesterday. And almost unconsciously
she became an accessory to Conrad's
plans to revive the happy romance.
that they had known in the careless
days of youth.
" We must see each other often,
for the sake of old times," he said
pleadingly, when they parted that
evening.
" I should love to," she murmured]
and for the moment she thought that
she meant her words.
They dined and danced, and spent
the evenings together beneath the
cloudless skies of Italian nights. Hut
was it real happiness ? Conrad often
asked himself that question, but he
was afraid to supply the answer
Why shouldn't he he happy ? The
woman that he had once loved more
than life itself was always in Ins com-
pany amidst all the old familiar sur-
roundings that had' framed their
original romance.
He must be patient Perhaps the
smouldering love of youth would
burst into lllfme even yet.
I^YHN up to the night when
^ Mrs. Adaile announced that
her holiday was at an end, and
that she would be departing in the
morning, Conrad still lived in his
fool's paradise. The thought of
her going made him afraid -
afraid to be alone again with his
quest still unsuccessful. He must
make one last desperate bid.
" Won't you come and see mc in
my room to-night, as you did when
last we parted," hi' pleaded.
She shook her head and laughed, for
she had long ago realised that there
was no road back to seventeen,
[CpntinHttl <•'. ptig* Of
A ARCH 1922
THE- PICTUR&GOE-R
39
\JompressecL kjq.
Yhomas
EIGAAN
areers.
I ''hey said he was a Caveman, tor
he can look rather wild. But,
ruth to tell, Tom Meighan is as gentle
is a child. The studio kiddies find
:his out, and throng the " set " when
lie's about. 'Tis said no woman can
esist Tom's sullen, dark-brown eyes,
vith their look of rugged power, which
lis kindly smile belies. (It was his
vife who told me so, and she most
ertainly should know.)
We sat and talked it over beside
Pommy's blazing fire. Quoth he :
' Faith ! 'Tis a butler I shall be when
retire. For movie stars must often
oam, and butlers always stay at
lome. And, though in films so many
tdnds of Cavemen I have been,
fhese striking tactics I reserve severely
or the screen. I much prefer a quiet
ife, besides, it might annoy my wife."
Tom doesn't come from Ireland,
Pennsylvania's his state. He was
)orn at Pittsburg, U.S.A., in eighteen-
ighty-eight. His dad was Irish,
hrough and through, and Tom is
'ery Irish, too. His parents thought
heir boy would make an excellent
)hysician. But eighteen-year-old Tom
lefied the family tradition. And,
hough he pitied people's ills, pre-
erred grease-paint to peptic pills.
Went on the stage in " Mistress i
"Jell, " a soldier " in the crowd."
Juite soon achieved promotion, and
poke three whole lines aloud. His winning
mile and Irish wit immediately made a hit
le played in stock at Pittsburg ; thence to
^ew York for a while, where everybody hailed
lim as a coming juvenile. Then, in his first big
eading part, Tom won success and lost his heart.
The farce (" The College Widow ") was a slangy
and of thing. Tommie played a College student
,vho was vamped by Frances Ring. And though
he incident caused laughter, he married her a
ew weeks after. Then Tom joined David Warheld,
ind three years appeared with him. In New York
md on tour in " The Return of Peter Grimm."
At Los (when in the same part still) he
jaught the eye of C. De Mille.
But Cecil didn't act at once, he waited quite
t while, till Tom had been " The lawyer " in that
veil-known play, " On Trial.'' Then offered
lim much L.S.D. to join the Lasky Company.
Soon Meighan took the first train home to tell
lis wife the news That her husband was a Lasky
eading man for Laura Crews. Tom never went
Jack to the stage. In filmland he became the rage.
They dubbed him " that big
Irishman " ; the " fans " adored his
work. He soon was playing opposite
Blanche Sweet and Billie Burke,
and Mary Pickford (in M'liss ; I
guess you all remember this).
" From stately Flsie Ferguson
and Pauline Fred'rick tall."
Norma Talmadge, Betty Compson,
Martha Mansfield, slim and small.
" I've wooed screen stars of every
type," mused Tommie, as he lit his
pipe. I asked him which of all his
film roles Meighan liked the best.
His choice was very quickly made :
' Tom Burke ' " beats all the rest.
I rather liked ' Matt Peasley,' too.
Did Cappy Ricks appeal to you ? "
He played lead in Don't Change
Your Wife, Civilian Clothes, and then
Conrad, White and Unmarried, and
The City of Silent Men. And also
in The Miracle Alan, the joy of
every Meighan " fan."
Tom Meighan s height is just 6 ft.
(he's slender for his size). His curly
hair is almost black, much' darker
than his eyes, which can be very
twinkling too, when Tommie's tantal
ising you. I asked what made him
look so fierce when really he is not.
Said Tom : " That's the artistic .
temperament I haven't got." But A
then he has great personality.
40
THE PICTUI5EGOE-R
MARCH 192!
Jfjoviefi/h the %a&nq Iff
THE STAGE DIRECTOR
I want the interior of the Central
Criminal Courts for to-morrow
morning, please. Then we'd better do
the scenes in the church in the after-
noon . . . just the altar, old boy,
and a glimpse of the organ, perhaps."
Probably you've been asked (in
that " of-course-you're-expected-to-do-
it " tone) to make up the ledgers, or
finish typing that batch of manu-
scripts, or fill the coal - scuttles and
shake the mats, or do anything else
to the order of the supreme individual
for whom you create the sweat upon
your brow, in return for your salary.
But the demand for any one of these
services, much as it may revolt the
secret chambers of your soul, does
not savour of the impossible to the
same extent as that calm, cold, curt
request for " the interior of the
Central Criminal Courts."
But the Stage Director in the film
studio remains unmoved and strangely
unresentful when the Producer issues
Ihe demand. It's his business to
supply it, and his face would betray
the same amount of emotion as that
of a sleeping babe if he were asked
for a replica of the interior of an
alligator, or a reproduction of Hades!
He is a wizard of re-creation, this
creature whom they dub " the Stage
Director " in the film studio. Other
than well-stocked " property " sheds,
his stock-in-trade usually only con-
sists of an abnormal capacity for
strategy — and a smile that draws the
sweat from the brows of an army of
willing subordinates
Do you who sit in the plush chairs
of youi favourite picture house, in-
dulging in the visual reproduction of
luxury that is so often a part of the
entertainment menu on the screen,
ever pause to wonder where it all
comes from, how it's all made, and
who makes it ? No. The Stage Direc-
tor has so disguised his art that he
causes you temporary optical delusions.
You believe that that magnificent
structure which shelters the heroine
in its comfortable confines is a magni-
ficent structure, and thus does the
What do they know of movies who
only movie-players know ? This fas-
cinating series takes you behind the
kinema scenes and provides intimate
glimpses of the people concerned in
the making of a picture play.
S. D. justify his existence — for he is
paid to give you delusions.
Perhaps you do not know, and
perhaps I shouldn't tell you (but I
want you to pay due homage to that
unseen worker " behind the scenes ")
that the marble columns that rear into
majestic space in the Shah's harem
are really structures of painted wood
that the leading lady might easily
knock over if she were indiscreet
enough to come into sudden contact
with them ! That " magnificent suite
of furniture " which adorns the draw-
ing-room of the Duchess of Bon-Hon
is, in all probability, a decrepit shadow
of its one-time magnificence ; but if
it is the right colour and the right
shape it will photograph the right
way . . . and there you arc and
there, also, is. the Stage Director.
I have seen many weird and
amazing " forgeries " in film studios.
There was a Producer who wanted
the interior of a fried-fish shop, and
the Stage Director, who was stranded at
least fifteen miles from the nearest
town where it was likely that he
could purchase the necessary im-
plementa for the scene. The set was
required quickly. The S. D. had to
get that set ready, so he sat down for
ten minutes, minus cold towels, but
plus his strategic capacity, and then
issued a request for several reams of
brown paper ! In less than fifteen
minutes he had reproduced the most
tempting looking morsels of " fried
fish " out of the brown paper. But
his soul didn't rest content at that
attainment ... he completed the
illusion by also manufacturing a
goodly supply of " chips " ; and the
artistes attacked the " feast " in such a
convincing manner that I would wager |
not a soul who later saw the finished
film had a passing doubt about the
reality of that fish !
Amongst other attainments of these j
wizards I have seen the conversion!
of a blank, cold studio into a sunlit
rose-garden, with gravel paths. " grow-i
ing " blooms, and fountains complete ;l
these artificial means were necessarv
because an English winter debarred
the Producer from cherishing a hope
that the scene could be photographed
on a real location.
The Stage Director is a veritable
Fount of Knowledge. He is an au-
thority on all those elusive subjects
which modern methods of education
try to instil into the juvenile mind.
But, unlike the juvenile, the S. I), has
to retain his knowledge of things for
future reference. Where and how he
acquires his amazing acquaintance
MARCH 1922
with the modes and mannerisms of
every known race, from the days of
the Apple to the days of the Income
jTax, the mere man in the tip-up
chair will never know.
From mansions to maisonettes,
churches to theatres, ball-rooms to
bath-rooms, and Eastern temples to
Western cathedrals, the Stage Director
wends his wonderful way . . . and the
Producer gets what he wants always.
On a recent tour of discovery, I was
privileged to spend a day with the
■Stage Director of a large and well-
known film-producing company. The
following is a black-and-white account
of his day's work, and an enlightening
glimpse at his genius for those who
don't know of its existence.
We started off in one corner of a
Very large studio, where work was
jabout to commence on the erection
(of " part of a fashionable restaurant."
In less than an hour a squad of stage
carpenters and scenic artists had,
under the guiding influence and gentle
persuasions of the Stage Director,
erected the structure of the restaurant.
Occasionally, one or more of the sub-
ordinates would make a mistake, but
there was no shouting or ruffling of
tempers. Just : " Suppose we turn
that flat round the right way, old
man ... it might photograph
better ! " from the S.D., and the flat
was turned round the right wav. A
" flat," in stage parlance, is the defini-
tion of a portion of three-ply board,
painted as required, which forms a
part of the walls of any structure.
The skeleton of the " restaurant "
completed, work started on the fur-
The mammoth Monte Carlo set built at
Universal City for Stroheim's " Foolish
Wives."
THE- PlClUkbUUb^
nishing thereof. Several small tables
were brought up from the property
sheds, and, still to the tune of the
S. D.'s orations, were placed in various
positions around the " set." Then
another faux pas was committed. An
enthusiastic, but not quite enlightened
assistant, commenced to clothe the
tables in dainty white cloths.
" Bury them, old man," quoth the
S. D., with a benevolent smile. ' There
are some blue ones downstairs. I'll
use those."
And the blue cloths were unearthed
and substituted for the white ones ;
for the S. D. knew that his very own
restaurant would photograph better
if the table-cloths were blue — white
is an irritant to the camera wjiich
ever}' wiseacre knows it is best to
avoid.
Then dainty vases of flowers were
deposited on the tables, and again
came a characteristic request from
the S. D.
Yellow blooms, please. Those red
roses will look like black-beetles."
And, from nowhere in particular, the
yellow blooms appeared.
And the S. D. was
satisfied.
One more all-search-
ing glance at the result
of his wizardry, and. the
S. D. bade
a temporary
good-bye to his restaurant, and de-
parted for the other extremity of
the studio.
" Here we must ' discover ' an
opium den in the East End," he in-
formed me, with about as much
excitement as though he were re-
marking that the weather was bad, and
we might have rain ! Sure enough,
the end of another hour saw the dis-
covery of the opium den, reeking of
that element of mystery and madness
whicli we associate with the Chinese.
When the lunch hour had gone to
join the dark spaces of the " things
that have been," the restaurant scenes
had been photographed, and the S. D.
now gave the order to " strike " the set.
This was done in something under
fifteen minutes, and the cold, blank
corner of the studio again appeared
to remind me that mere details like
restaurants are but passing phases in
the lives of Stage Directors.
The afternoon saw the birth of an
Early Victorian drawing-room on the
ruins of the restaurant, and close to
the vicinity of the " opium den
Constructing a
canal s c ene
over the tank
the. S. D. and his army
erected the interior
of an old curio shop !
The curio shop com-
pleted, the S. 1).
turned to his army.
" Thank you, boys.
That's all for to-day.
We'll have a heavy
show to-morrow.
So I presumed to-
day's " show " had
been light ! And my
presumption was
right, for the S. D.
quietly informed me
that to-morrow would
demand a ball - room
scene, a church scene
for a wedding, the
inside of a gipsy cara-
van and the lobbv <>t
the House of Com-
mons !
42
THE- PICTUR9GOE-R
MARCH 192
Mr^Mrs Pic^ Hammersmith
The restful gleam of the myriad
blue lights that throw fascinating
shadows on turquoise pillars tipped
with gargoyles of gold, bring the atmo-
sphere of fairyland to the interior of
the Blue Hall Kinema. It is a fitting
setting, for romance is rife in this
well-known West End hall. There
the youth of Hammersmith and its
environments combines the plea-sure
of the " pictures " with the rose-
coloured hours of courtship. Perhaps,
to the romantic, there is some appeal-
ing connection between the shaded
blue lights of their favourite kinema
and " the eyes of tender blue "
immortalised in the familiar popular
song, " A Bachelor Gay Am I."
But the number of coveted " back
seats," after all, are limited, so the
family atmosphere is also very strong
in the Blue Halls. It is in suburban
halls such as this that one can recog-
nise how the kinema is the antidote
to the strenuous life of our great cities.
It lifts the tired worker out of the rut
of conventionality and the boredom
of everyday affairs.
He goes to the kinema after his
day's work, just as his ancestors used
to cross to the bookcase in the evenings
in search of the solace of the bright
and interesting novel. Now the ad-
vent of the kinema has animated the
story book that in the past catered
for tired imaginations. The modern
worker, such as you can see in scores
at the Hammersmith picture hall, no
longer strolls over to the contents of
This is the third article in our series
dealing with the leading British picture
theatres and their audiences. Apart from
their personal interest, you will find in
these articles enthralling studies of the
psychology of picturegoers in different
parts of the kingdom.
his library. He reaches for his hat
and says :
What do you say to running down
to the pictures, my dear ? "•
And because the Blue Hall Kinema
will shortly reach its tenth birthday,
there are some husbands who say to
their wives in the evening :
" How would you like to come down
to the kinema where we used to go
in our courting days, darling ? "
There was one happy couple whose
stages of life were watched with in-
terest by the manageress of the Blue
Halls. She saw them come to the
kinema as lovers. Then one day she
saw a shining wedding-ring on the
girl's finger. A few years passed,
and still the old patrons occupied
their customary seats on Thursday
nights. They came later than usual
now, as there was a son and heir to
put to bed first. Then one sad day.
during the war, the young bride came
to her favourite seat in widow's weeds.
Hut this is not the tragic end of the
story. For a few nights ago she was
seen sitting in the discreet glow of
the blue lamps with a new admirer.
They like spectacular productions
or strong, human drama down Ham-
mersmith way, The picturesque appeal
of Quo Vadis filled the Blue Hall ii
its earliest days, and since then th<
super-films of recent years have figure<
prominently on the bills of the Ham
mersmith kinema.
The record house was achieved wit,
Charlie Chaplin in The Kid. Charlitllj
is always popular, but Mary Pickfon
and Douglas Fairbanks have no'
quite the magical effect on the box
office proceeds that was once tht
case. Hammersmith may flock to se<
the funniosities of Chaplin, bu'
"Doug's" smile, and Mary's sentimenta.
appeal do not ensure surging crowds
and " standing room only notices
Suburbanites are traditionally sen
timental. They like to see handsonul
' screen Romeos sweep heroines of)
their dainty feet with demonstration
of cave-man affection. On Saturday
nights they cheer blue-eyed Wall)
Reid when he thwarts the villain in
the last reel.
" Hasn't he an adorable smile ?
you can hear the impressionable
murmur beneath the blue lights as
Wally flickers on to the screen.
Immaculate H. B. Warner was a
popular exponent of flicker affectioi
down in West London. When he]
came to the Blue Hall recently in
One Hour Before Dawn he proved a
magnetic attraction.
The human appeal of Why
Leave Home exercised its influence on)
the Hammersmith picturegoers. This
domestic story, that with a little
imagination could have its reflection
in so many suburban homes, proved
to be the popular fare for the Blue
Hall patrons.
In one direction the Hammersmith
kinema is unique. Standing close to
it is a duplicate of the hall that was
first erected over nine years ago. The
success of the undertaking made it
necessary to cater for the increased
patronage. The building could not
expand in length or breadth — for
in congested Hammersmith such archi-
tectural inflation is a problem that
takes a deal of solving— so it wa<
decided to erect a twin brother for
the original Blue Hall. So to-day
the two halls stand next to each other
with duplicated staffs, projecting ma-
chines, and with similar artistic de-
corations prevailing in the interiors.
As far as possible the films shown are
the same in each building.
In these days of kinemas of mush-
room growth, the Blue Halls are
veterans amongst the younger genera-
tion of picture theatres. And as such
they will figure in the annals of film
history, for they pioneered the growth
of that powerful attribute to the
modern kinema— the invaluable patron-
age of London's suburban dwellers
(Another putuu theatre article will appear next mont* '
MARCH 1922
T
THE- PI CTU REGO&R
IMPOTENCE
BEIK^
ERME5T
Strictly speaking, Ernest has no busi-
ness at all in this Kinema Club inter-
view with Guy Newall and Ivy Duke,
but here he is, disguised as a Greek
Chorus, and so we shall have to make
the best of him.
43
his " said Guv Newall politely
holding open the swing doors of
the Kinema Club, " is something one
does not get in Nice."
" My dear sir,'* the voice came from
the Hon. Secretary of the Club, whose
lair is just inside, " there's nothing
like it there, or anywhere else either.
What do you think of the Club ? "
" Excellent idea," responded Guy.
" Only my remark referred to the
weather. 1 haven't seen the Club yet."
" Then you must see it at once.
Come with me, both of you." And
the Hon. Sec. hopped out of his office
like a Jack-in-the-box.
Of course anybody who has ever
belonged to any kind of Club knows
that the eleventh plague of the universe
is the genus hon. sec. This particular
specimen is a small Irishman with a
large brain. His first name is Ernest.
Believe me the combination is deadly.
It took me all of five minutes to
persuade him that I had brought Guy Newall
and Ivy Duke to the Kinema Club because I
wanted to interview them in peace. " And
without interruptions,'' I concluded, triumph-
antly shepherding Guy and Ivy into the cosy,
well-lighted lounge, which afforded such a
welcome refuge from the chill fogginess outside.
" But they ought to see the Kinema Club,"
objected the Hon. Sec. thereof. " It's the
realisation of every artiste's pet davdream.
Its — -"
" It's awfully draughty with that door open,
I asked Ivy Di
ike,
who obligingly
shivered.
Ernest took
the hint and
%&
retired in
good order.
"As I was
^
&
•>^
.-•*
1
Ivy Duke in " The Bigamist."
saying," continued Guy, after I had
them safely ensconced opposite me
in one of the big Club lounge seats,
" there are no yellow fogs like this
at Nice."
" Oh ! But one grows so tired of
the eternal sunny glare," objected
Ivy Duke. " Give me Old England
any time."
Which proves that Ivy is as
brave as she is beautiful. Only a
film star who is fearless would dare
disagree with her director. Es-
pecially in an interview.
" We had weeks of perfect
weather at Nice," said Guy Newall,
with a smile, " whilst we were
making The Persistent Lovers. It's
quite an open-air story, with scenes
ranging from the Norfolk
Broads to Southern France.
Some of the scenery in and
close to Nice is enchantingly
lovely. Such brilliantly-hued
foliage, and carnations (whole
fields of them) growing in the
open without glass. They have
complicated arrangements of
matting spread upon poles to
draw over and protect the
plants when it rains."
44
THE- PICTURE-GOE-R MARCH 1922
Ivy Duke in
" Testimony."
"Because when it rains
there it does rain.
And there's a wind
something like our
March wind." This
from Ivy. " And then
I used to grow home-
sick for the English
countryside. It's so
wonderful at home on
a spring morning
after a shower. You /
know. When things S
are just commencing /
to bud, and the air's i
a wee bit misty."
She smiled dreamily
at the thought.
Sad to relate, the atmosphere in the
room was getting more than a wree bit
misty. Decidedly thick was nearer the
mark. I hastened to take a good look at
my victims before the fog engulfed us
all completely.
I saw a tallish, fairish, boyish (very)
Englishman, clad in a grey suit,
with a cigarette between his fingers.
Age ? Anywhere in the early thirties, I
should say. Blue-grey eyes, somewhat
wistful, and a whimsical, frequent. smile ;
a countenance expressive rather than
impressive, yet with something indis-
putably likeable about it. Guy Newall, like most
movie men, looks younger off the screen than on it.
At the moment he was looking at Ivy Duke, and
she was gazing into the fire.
Ivy's was easily the brightest figure in the room.
The fitful glow of the firelight reflected itself (so far
as the fog would let it) in the gleam of her golden
hair, and emphasised her perfect profile. Emphasised,
too, the fascinating dimple in her right cheek when
she laughed, which, to date (more's the pity), does
not seem to have ever been photographed. Ivy
Duke's bright colouring is not the least of her
charm : ii seems a shame that her pink cheeks and
gre-j blue eyes, with their long sweep of lashes, lovers."
Guv
andh
in The
Persistent
A happy pair of
movie-makers.
cannot be transferred
to the screen. Ivy
wore a sapphire-blue
feathery toque, very
like the one she wore
in The Persistent
Lovers, which j ust about
matched her eyes ; and
a filmy black frock with
a touch of the same deep-
blue at the waist. She had
thrown her big beaver coat
across the back of a chair.
I was only just in time. The room
becoming full of drifting yellow fog, we
three and the fire seemed surrounded by
clouds of it. I fancied I heard the door
open softly and close again.
" Which of yo*u ? " I inquired, ad-
dressing tlie tip of Guy's nose, which
was all I could see of him. " Was the
first to commence film work ?
" I was," replied Guy Newall.
I started in 191 2, as a small-
part man with the London
Film Co. Ivy didn't
come along until six
years afterwards.
Don't know how
I managed to
do without her
all that while.
Before that I
was on the
stage. Do you
know how I
had my first
taste of stage
life ? With a
travelling pan-
tomime and cir-
cus in the Isle
of Wight (I lived
there then). But
wild horses wouldn't
make me tell you what
my work was.
' I drifted to London after
11 ARCH 1922
THE PICTUR&GO&R
45
Guy ani Ivy at Nice during the filming of " The Bigamist.
a year or two and played in ' Mile-
stones ' there, and in the provinces. I
used to specialise in comedy ' dude '
Toles, and I was with Marie Tempest
in several of her biggest successes.
When ' The Duke of Killiecrankie ' was
produced at the Criterion, I had a part
in it, and also understudied the leading
man. I played in that comedy for two
years, on and off, and took every single
part in it, at one time or another.
Every single MALE part," he amended,
hastily, as his fair screen-partner sat
up suddenly, and seemed about to
speak.
" She loves to catch me out like
that," he explained. " My first screen
roles were comedy ones ; I was in
Smith, with Elizabeth Risdon, and
The Heart of Sister Anne (Edna Flu-
grath was " Sister Anne "). Then I
commenced writing scenarios, and one,
Money For Nothing, I produced for
London. It was a two-reeler, and very
successful. Editing and producing,
.then, as now, interested me strongly,
and I was very glad to become George
Loane Tucker's assistant producer when
Tucker filmed The Manxman."
The whole company went to the Isle
of Man for exteriors, and Guy had some
amusing stories to tell of the way the
Tynwald scenes were made. The good
folk of the island made a national
' holiday of the affair, closed up all the
' shops, and thoroughly enjoyed the
j filming. After that the war claimed
, Guy Newall for the next few years.
As he paused to light another cigar-
ette, a still small voice penetrated the
curtain of fog.
" Talking is thirsty work, Mr. Newall,"
it said ; " and we have such a splendid
bar in the gentlemen's lounge up-
stairs." Needless to add, the speaker
was the indefatigable Ernest, who had
crept in under cover of the fog. We
couldn't very well turn him out of his
own club-room, and no
doubt he was doing his
duty. But, oh ! if looks
could kill, my steely glance
should have stretched
the energetic Ernest stone
dead upon the hearth-rug.
As it was, he bided his
time in the background.
Guy and I," the voice
came from Ivy Duke's
side of the lounge, " are
always going to work
together. We joined
George Clark Productions
together, and Guy wrote
the scenarios, produced, and starred in the
first three. He's always going to be my
director if I have any say in the matter."
" And she's always going to be my star,"
said Guy. Wise Guy
Certainly
the two
play splendidly
together as
4tG
46
TK'E- PlCTUREGOE-R
MARCH 1922
anyone who has seen their George
Clark successes, Garden of Resurrection,
Lure of Crooning Water, Duke's Sou,
and The Bigamist, will agree. Both
are strong believers in the filmed
novel, and, adapted and sub-titled in
Guy Newall's distinctive way, there's
much to be said in its favour. They
have secured a dozen other novels
for filming in the . near future, and
Ivy is responsible for the selection
of these.
Both she and Guy Newall take
their work very seriously. " Film-
making is the Art," according to Guy.
I think it greater than the Stage,"
he told me. " But the trouble with
us over here is that neither players
nor producers take their work seri-
ously enough "
" Bless my soul, that's nothing
short of libellous." The Hon. Sec.
was quite agitated. No one could
possibly accuse him of not taking his
work seriously enough. " After we
have worked and founded this Kinema
Club, in which, if you'd only let
me explain, producers, artists, and
scenario-writers get together for their
mutual good, and the good of British
films "
" Go with him, Guy. He won't be
happy till he gets you." Ivy Duke
was laughing so much that she could
hardly speak. " And I'll take charge
of the interview till you return. He
doesn't seem to want me."
" Indeed ! I've just detailed a lady
member of the Committee to make
you her special care, Miss Duke," said
the Hon. Sec, pouncing upon Guy
Newall and bearing him away in a
twinkling.
Now there is one room in the
Kinema Club where no mere
male may venture. Unless he wishes
to be instantly expelled and lose his
membership card. This is that
pleasant third-floor apartment known
as the Ladies' Lounge. Even the
Hon. Sec. dare not poke his perse-
vering head in there ; and I persuaded
Ivy Duke to come and inspect it
with me.
It wasn't nearly so foggy up there,
either. We had coffee together, and
Ivy took up the subject of serious-
ness where Guy had left oft.
I am head-over-heels in love
with my work," she told me, her
vivacious face alight with enthusiasm.
" And I love highly emotional roles
best of all. Although I always like to
introduce a wee bit of comedy some-
where. If I can. My favourite
role ? I'm not quite sure. I liked
' Pamela Arnott ' in The Bigamist
1 liked the story, too. I ch
it, you know ; and, althougl
very few of the critics liked
it, The Bigamist has proved
very popular with the
public. I've had such lots
of nice letters about it,
and America, too, liked it
very much."
Ivy showed me her
morning's batch of letters. The
greater part came from South Africa,
India, and the East ; for it was mail
day ; but England, Scotland, and
Ireland were also represented. We
discussed the beautiful settings and
costumes in The Bigamist.
Interior decoration interests me
quite a lot," Ivy confided. " I don't
want to be a producer, though I like
helping Guy ; but I shouldn't mind
the post of Art Director. All those
Bigamist scenes you admired were
studio sets, and I made some of the
curtains and frillies. I'm fond of
sewing. I can make these things,"
patting the cretonne cushions with
which the Ladies' Lounge is plenti-
fully besprinkled. " I think I'll have
to join this Club."
Repeat that in the hearing of the
Hon. Sec, and he'll be your friend
for life," I told her.
Further conversation proved Ivy
Duke to be very feminine,
which means delightfully inconsistent.
For instance, this highly-strung, emo-
tional girl, who weeps upon the
slightest provocation (so Guy Newall
avers), is ardently devoted to shoot-
Guy " tries
out "
ing. Also though she adores country
life, hard riding (Ivy rides astride),
sailing, and other kindred sports, she
is an authority on clothes, and her
glowing descriptions of the lovely
gowns and negliges she wears in her
films, were extremely interesting.
" Guy and I," she said, " both
like music when we're filming emo-
tional scenes. Most of the tense
moments in The Bigamist were accom-
panied by Massenet's ' Elegie.' (We
have our own orchestra in the studios,
always.) The new film we're com-
mencing now, Boy Woodburn, is a
winter story, and I as ' Boy ' (that's
just a nickname, of course), am in
the saddle almost all the time. I'm
so glad, because I've never had a
chance to ride much in a film before.
I'm going to buy my What-d'ye-call-
'ems this afternoon. I have all my
other things. It's great fun, choosing
one's clothes, I think."
Boy Woodburn is, of course, adapted
from Alfred Ollivant's novel, and
will be made in the New Forest,
finishing up with scenes taken at the
Grand National this month.
Then we're going to do Fox Farm,
in which Guy plays the part of a
blind man ; and then, in 1923, Guy
says he's going to make the film of
his life."
" That will be fun. He'll certainly
have to be his own scenarist."
" Oh, don't be so literal," rebuked
Ivy. " I meant Seven Journeys, by
Dorota Flatau, only it will probably
be reduced to five,' and even then it
will be very long. We think it's a
wonderful story, and Miss Flatau is
at work on it now for us. Yes ; I
shall play opposite Guy, if possible ;
but he will surely direct it, anyway."
I suppose all good picture fans
know that Ivy Duke was in musical
comedy before she came to filmland.
She was very successful, too, although
she dismisses the subject very casually
when you ask her about it.
" I don't think I'll ever go back
to the stage again," she said. " I like
films so much better."
She is fond of reading, and Temple
Thurston is her favourite author.
" Guy met him when London filmed
Driven," she told me. " Guy's favour-
ite role was in The Garden of Resur-
rection. I half believe it was because
Betty was in it, too. Betty (Guy's
terrier) is such a darling. But so is
my Sammy."
" Sammy " is the smart
black-and-white Samoyede
who figures in so many
of Ivy's photographs.
^ Ivy Duke's pets also
include three horses and
two tiny ponies.
^ " When I retire," said
Ivy, " I shall live in the
f*V _ country and breed Samoyedes.
I haven't the time to do it now,
but just you wait." I've an idea
that we're in for a long wait be-
fore we see those prize pups, still —
[Continued on pagt s$.
[ARCH 1922
THE- PICTUREGOE-R
47
F RHEUMATIC, DISSOLVE THIS
IN YOUR MORNING TEA.
hen watch the pains, aches, swellings, stiffness, and
ther misery disappear. They simply HAVE to go, says
ALICE LANDLES, certified nurse.
Rheumatism can be caused in but one way. That is by acids and
npurities in the blood. Chemical analysis and microscopic examination
I the blood prove this beyond the possibility of doubt or argument,
, any standard medical work will explain in detail. Of course, various
inditions, such as exposure to cold and dampness, or committing
■rtain errors of diet, can make rheumatism worse, but the primary
mse always remains the same. Therefore, trying to get rid of
leumatism without-ridding your blood and system of the acidulous
lpurities which directly cause this physical calamity is exactly like
ying to get rid of smoke without putting out the fire. Pain-causing
d kidney-irritating uric acid is no different from any other acid in
at it must be neutralised by an alkaline liquid. Nothing else can have
st the same effect, this being an elementary principle of chemistry,
course. It naturally follows that to dissolve, neutralise and wash
t the rheumatic acids the liquids you drink must contain the
cessary alkaline elements to be absorbed into the blood and act upon
le acids. These elements are easily provided. Simply get a small
jpply of the refined Alkia Saltrates compound from any chemist. As
uch of this as can be heaped on a sixpence should be dissolved in your
2a, coffee, water, or other drink and taken every morning. No trace
f any bitter, salty, sour, or other taste can possibly be detected. Also
cannot upset or irritate even the most delicate stomach. The only
vidence that you are taking a medicine will be the plainly noticeable
?lief from rheumatic pain which it quickly produces. In each package
f Alkia Saltrates the refiners enclose an authoritative and extremely
aluable treatise, giving useful diet hints and other interesting informa-
lon for rheumatic sufferers.
SPECIAL NOTE.— We are informed by Saltrates, Ltd. (Dept. 185B),
'.ttston Buildings, London, N.W.I,., who prepare a very high grade of
Ikia Saltrates, that they are willing, as an advertising offer, to supply
nyone ivttrcstcd in the product, with a regular is. gd. size packet free
' applicant cares to send sixpence for the postage, packing, etc.
IF you want to make use of your talent,
so that you can make money, fashion
drawing offers you the best opportunity.
It does not require years of hard study,
5 uch as other branches of art, before you
lealise any compensation. Providing you
have the correct training, you can soon
learn, in your spare time at home, to
draw fashions that are in urgent demand.
FASHION DRAWING
IS THE BEST - PAYING
ART WORK OF TO-DAY
The Associated Fashion Artists, com-
prising London's leading Fashion Artists,
give thorough tuition by post in this lu-
crative art work, and assist students to sell
their drawings as soon as they are proficient.
The work of one of our pupil* ie now
appearing regularly in the Parisian
edition of " Vogue, ' which it proof in
itself of the efficiency of our training.
Write to-day for the handsome booklet,
" The Art of Fashion Drawing." It will
be sent you by return of post, gratis and
post free. Address your inquiry — a post-
card will do^to : —
. THE PRINCIPAL (Studio 67)
ASSOCIATED FASHION ARTISTS
II, NEW COURT, LINCOLN'S INN. W.C.2.
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self the merits of
these delight f ul pre~
para t ions.
Dainty Free Samples
Since 1800, the various " Charmides " toilet speciali-
ties have given the greatest satisfaction in the most
exclusive circles. To introduce them to a wider
clientele a free trial packet will be sent to every reader
of, the " Picturegoer ". who uses the coupon below
and forwards i/- to defray part-cost of packing and
carriage. Contents of parcel as under :
One"Charmides"
1 Tace Sachet as
described above.
Trial jar of "Char-
■* mides Cremc Ma-
gique," a marvel-
lous preparation which
gradually softens the old
dry skin and repla< es -t
with .1 beautifully smooth
complexion of velvety
softn.
Generous sample
J box of '• t har.
mides" Face
Powder, most delicately
pei fumed, silk-sifted and
tree from all harmful
pore - clogging sub-
stances. Or a fairy fine.
ness and exquisite purity.
Applications tor trial package should be
addressed to the sole proprietor and manu-
facturer : —
Mrs. NEVILLE KOSS of Chelsea .
12. Mandeville Place. London. V\
Oi Harrod's, Dchcnham s.
-;■■'>. and
/Z*f4] Chemists and M
l> ^J event ol diftn ulty, send
your order to Mrs. Neville
Ross d
/ Mts.Neville Rcss,u,.\fandr. 1
Please send me free tnal ftit ktt^e of " C ■
Preparations. I enclose P.O. //• in part paj nunt of
packing and postage.
Xante
Address «
PG2
40
THE- PICTURlrGO&R
MARCH 19^
^//tc name LEVER
on (Soap is a
Guarantee of /Purity
and Excellence.
The Children fs Friend.
TPHE antiseptic properties of
* Lifebuoy Soap, combined
with its refreshing lather, make
it the ideal soap for children.
With Lifebuoy, every pore of
a child's delicate skin becomes
antiseptically clean and pro-
tected— it is thus able to resist
the attacks of disease germs.
When Pussy washes over her
ears it is said to be a sign of rain
■ — when little folks use Lifebuoy
Soap it is a sign they intend to
be fine men and women, set
fair in the clear, wholesome
atmosphere of radiant health.
Children love the wonderful
antiseptic odour of Lifebuoy.
MORE THAN SOAP-
YET COSTS NO MORE.
"We haven't nine lives, Pussy
— but we've Lifebuoy Soap."
r< 2no ni
LEVER BROTHERS LIMITED, PORT SUNLIGHT.
the- picture-go l- r
In i he |armai > , issue
.,i the I'KII'KK
IC,< )\- K we published an
advertisement I'm I'urf
Cigarettes illustrated
m ith photogi ipli ''I
Mar) Pi i kford and I »c >ug
Cairbanks. I he
oi >li. advertise
mcnl wa to draw
. big public
uritcs Mar) Pick-
Fairbanks
Turf ( !•■ in les ;
but we wish in in
quite i leai thai the
artistes in question gave,
testi
monial to these cigar-
ettes \- .' matter of
i.m t, in publishin
photographs we unwit-
transgressed the
bard and fast i ule made
In Mr. and Mrs, 1 air-
banks thai their names
should not be used in
connection with adver-
of any des< ription
ordinary
film announcements.
; Many film stars have,
i if course, testified to
the popularity of Turf
ettes, and t Ins dis-
ner, therefore, does
not in any way i
upon the well-known
excellence of these popu-
cigarettes which
we unhesitatingly com-
ii Lention of our readers.
\ety is the keynote of the M
Picturegoers can take
theii choice "I crook stories, myster)
ries spectaculars, farce i omedies,
sentimentality, satire, and sea stories.
tern dramas, too, arc here this
ih in plenty, for Charles (Buck)
[ones, Harry Carey, Roy Stewart,
I rank Mayo, \\ illiam Russell, and
^ S I ho i make their appearance
on the screen. Contrary to the usual
months' wait, Mae Murray's
itest film, /' acock Alley, will
ised not many days after it
trade-shown. The fact thai both
pla) and film of The Sign On the Door
in is of interest. Stage
i will provide man)- an
after the show " argument. Sixty
ttures are due in March, three
more than List month.
\ very good play, The Sign On the
I \ Door is equally good .is a photo-
drama, which is more than can be
plays, fot as a rule the
gaps between the ai is are seldom or
never filled in. Here, though, all works
smoothly, and the interest and sus-
pense is maintained all through.
Norma Talmadge always at her best
in a powerful! tti. role sue h as
she has her.-, is exi ellenl as the self-
sacrificing wife Next in order of
merit comes Lew Cody, who has a
1\agmai
' 1 (.Diliiusf:,
famous pianist She is
a lo\ cly 'I
lirst pari in |>ici un
1) one in // /
King, with W illiam
im. Na/itnova took
youthful Russian,
was instrumental in per
in filmland. I »agmar has
vamp
and has frequenl l\
appeared in support oi
I rank Mayo. On
her most recent roles
that of " Koree,"
in hi Uanoui It
opposite l.on Cha
This is a storv ol
Canadian North woods,
written by Con Ch
and I .ueien 1 lubbard.
S'
typical Cody part, and makes a con
vincing villain ol " Devereaux." But
the acting throughout is first (lass,
and challenges comparison with that
of the clever company appearing at
the Playhouse, Condon, in the stage
play. The Sign On the Door, as
shown at the Alhambra, Condon, was
preceded by an amusing twp-recler,
Beauty and the /least, or The Story of
It," in which Cu\' Newall and Ivy
Duke indulge in some plcasanl fooli
An ingenuous a Hair, Beauty and the
Beast is the first " curtain raiser "
film specially written for thai purpose,
and is in complete contrast to
Sign On the Door, which is decidedly
ingenious.
' | *hc same adjective applies to Mary
X Maila reii's March offering.
Forged Bride is improbable, but so
well constructed and acted thai
grips, especially in the pathetic parts.
The characterisation is good, paf-
ticularly that of the nervous old
criminal played by Thomas Jefferson
(The Patriarch of The Miracle Man).
The element of hoax in the plot is
interesting, and the spectator is un-
iin, until those in command deem
it time for him to know, which way the
action will work out. Ma rv Marian
a calm and gentle heroine, and Harold
Miller an energetic hero. Dagmar
Godowsky i.Mrs. Frank Mayo) also
appears as " the other girl."
* omething fresh in 1 he
way of outdoor
melodrama is The Red
lane, a .storv of smug
glersand Customs offu ers
on the Canadian border-
lands. Fresh, because
undoubtedly the sym-
pathy of most British
kinemagoers will be
given to the villains
(the smugglers). The
backgrounds are also pic
turesque and quaintly
beautiful, the acting convincin
Mayo always shines in virile melo-
drama of 1 his kind), and I he product ion
convincing and skilful. Cilhan Rich,
the heroine, is of 1' rth, and
was last seen on the London stage in
"Three Cheers," the Harry Lauder
revue at the Shaftesbury a year or
two back Lillian has also appeared
at the London Hippodrome and the
Alhambra.
Some British releases of the month
are The Fruitful Vine, a mag
cently produced screen version of a
Robert 1 lichens novel, with Yah.
the heroine, and a fine supporting cast ;
Tin Call <f Youth, a Famous-La
production, with a good cast but a
poor story ; and 7
Fancy, a screen play both entertain-
ing and interesting. Good racecourse
■ s, a thrilling fight, and Rex
Davis, Tom Reynolds and IV,
iiurrell atone for a story which is
somewhat intricate, and does not
c ai ry m m h conviction.
IT*anny Ward, the star who sna
her pretty lingers al Father
June, is the central figure of
Flayed and ['aid, a well-worked -out'
tragedy produced in Prance.
feature has a somewhat unp
story, and contains a few ungi.
matical sub titles, but the continu
is ex( ellenl , and , u he. h
50
THE- PICTUREGOE-R
MARCH -~"2
includes M. Joffre, jean Dan and Jean
Dupre (a most convincing villain).
Fanny herself lives in Paris these
days. She has apparently abandoned
screen work, but she and Jack Deans,
her husband, make a point of meeting
and entertaining every movie star
who visits Paris. Many interesting
reunions take place, for Fanny Ward
did all her first screen-work in U.S.A.
Who remembers her first film. The
Marriage of Kitty ?
Emerson Hough's novel picturised,
i The Sagebrusher, contains one of
the best fistic encounters to be seen
on the screen this month. It is a
human story, exceedingly well told,
with photography and production of
the best. There is excitement in
plenty, though not of the " stunt
variety, and the forest fire, which
sweeps all before it, and the disastrous
flood, provide very telling scenes.
Hoy Stewart (later to be seen with
Pauline Frederick in The Mistress of
Shenstone) makes a fine hero, and
Noah Beery is excellent as the chival-
rous " Sim Gage." Marguerite de la
Motte plays heroine.
Quite one of the sweetest of movie
maidens is petite Marguerite de
la Motte. She commenced her career
as a dancer, and became a celebrity
on account of the originality of her
dances. She is also a finished musician,
and has three well-known composi-
tions to her credit. Marguerite has
graced many of Douglas Fairbanks
productions. She maybe Doug's leading
lady in his new one, The Spirit of
Chivalry, now in active prepara
tion. She was left an orphan
two years ago, when both
parents were killed in a,
motor accident. < Ml
the screen, Mar-
guerite is Mrs. Mit-
chell Lvsen ; her
husband is a
director at Fam-
ous-Paskys.
Roy Stewart is
sometimes
known as (he Col-
lege Cowboy : lor,
t hough a Westerner
in real as well as
reel life (his mother
was a pioneer of Cali-
fornia), Roy is equally
at home in a Society
role. Wil ness his suc< e
opposite Kat herine Mai •
Donald in The Bleeders
And his stagecareer records
contain many such characters
as this one. Roy came into
screenland via the old A.mmex
Company, and he was with
Griffith lor a time, ( I'he
ll,)u.s>- Built Upon Sand, a
Lillian Gish picture, is one of
th. l>e, i known In- played in at
that time.) I lis greatest suc-
cesses, however, have been made in
films like Cactus Crandall, The
Westerners, and The Boss of the
Lazy V. Roy's hobby is riding: he
wouldn't miss his morning canter for
any money.
'TMie late Lieutenant O. Locklear is
1 the star of The Great Air Robbery,
which contains some of the most
remarkable aeronautics ever filmed,
including several wonderful " close-
ups " of Locklear's famous change in
mid-air. The camera was specially
built into a fast aeroplane for these
shots, and Milton Moore, Universale
flying camera-man, flew just ahead
of Locklear's machine so as to secure
the requisite views of it. It is a most
exciting story, and was written by
Jacques Jaccard, who also directed it.
The scenes in the air were directed
by means of wireless telegraphy.
Francelia Billington, Allan Forrest,
and Carmen Phillips are seen in the
supporting cast, and several I S
aviators from Rockwell Field, San
Diego, were pressed into service to
aid in maintaining the realistic note.
An amusing adaptation of a famous
comedy success of a few years
ago is Officer 666, which features Tom
Moore in a role many well-known
movie-men of to-day played on the
American stage. One of the most
famous exponents of the hero was
Howard Estabrook, who, with most
of the original cast, starred in the first
film version, made about five years
ago. It is a quick-action picture, and
Shirley Mason and William Scott conduct a
courtship under difficulties.
most of the sub-titles come straigh!
from the stage play. Tom Moore
makes an ideal policemen (this is his
only j>ohceman role since One of the
Finest). The supporting cast is in-
teresting. Jean Calhoun, Raymond
Hatton 'who gives a splendid charac-
ter-study as " Whitney Barnes "),
Kate Lester, and Priscilla Bonner
figure therein. Priscilla is a young lady
well worth watching, and a potential
star. Tom himself has left Goldwyn,
and is appearing opposite Betty
Compson in her next Paramount pro-
duction. N.B. The full story of
Officer 666 will appear in the April
" Pictures."
Douglas Fairbanks has another
"winner" in The Mollycoddle,
which shows, among other things,
Doug.'s first screen moustache
the commencement (as in The Mark
of Zorro), Doug, is a spineless creature,
who fits the title of the film to a
nicety, and submits to insult after
insult because he wants to be a
fashion-plate. Pater, though, the
fighting blood of " Richard Marshall's "
ancestors comes uppermost, and when
he meets the girl -well, then the fun
begins. It terminates in a tremendous
fight, when hero and villain both roll
down a mountainside clean through a
shack, and land in a pond. Wallace
Beery shares this scene with DouglaS
and Kuth Renick plays the girl of
Doug.'s heart in charming fashioa
The story of The Mollycoddle will be
one of the many attractions of the
April issue of our sister publication,
" Pictures."
Mae Murray, in Pe
. I lley, plays a Pa
_-*
Peacock
plays a Parisian
dancer who falls in love
with a young business
man from Indiana.
When he returns
home, Cleo goes with
him, but the French
ways of his pretty
wife shock the good
folk of Indiana.
There is a quarrel,
so Cleo returns to
Paris, but is restor-
ed to husband and
happiness m the
last reel. As Cleo of
the wonderful ward-
robe, sharp temper,
and delectable dancing,
Mae Murray is as good
as she was in On With the
Dance. I'he sub- titles of
this feature, too. arc notable,
for they are the work of Fred-
, d Fanny Hatton, authors
of Lombardi, Ltd., and / fe
Walk Offs, and manj arc in
Pi-i/ma colour Monte
Blue is a realistic man
from Indiana." and Anders
Randolf a sinister, bad man,
Mae is in Spain just now. film
ing exteriors for Fas* i nation. She had
hoped to find the settings she wanted
II
TWE- PI CTU R&GO&P.
//>fo Star
sells
Watches
During the Winter the life of a Briti-h Movie Star is fir from
losy Al that season the Flnglish Climate dors not exactly lend itself to
j' Location " work. Consequently, for some six months out i t every
welve he is thrown on his own resources. This account, for my
'louring in the Advertisement columns of " Pictureyoor "
Having secured at bargain price the entire stock of a leading
manufacturer. I am offering facsimile £4 4 0 Ladies' F.xpanding
Bracelet Watches, exactly as illustrated, for the asioun ling price
>l 18 6. post free.
Elegant 18-ct. Gold-filled, finest finish, unbreakable
Five years" gua.anteed timekeeper. Jewelled movement, and
h.ot more than pleased- — cash returned in full.
Readers can also secure this bargain by sending 5/
six weekly instalment* of 2/6.
Register your letter to ensure safe delivery to : —
DEREK DALE (The Paramount Co.) 37. Berners St., London, W.I.
ti u i (ring,
it you are
depoMl and
Obesity, Corpulence, or Excessive Stoutness
A specialist writes
rr obesity ton
. ith ox
The most successful treatment
obesity consists of a hot bath every night, washing the
gall soa/> : this removes the superficial
.a » of rat After the hath the parts are wett massaged
reauime cream this promotes absorption tf the
'Mini tar ftt ad&lfldn. Martrnfuta Sa/t is tfk*n
t'ferc >:>■>. '. *t - . f a r.e,/7fp07ind of seaiwed > vtract helore
"i. A ;/,•.,.. These ire/>arat torts, rich '" natogen*. fimu-
late metal :'.i\m and rapt&ty '•••turf fat. Complete treat-
went on these Uh 7 9 trtd J 416
yabout jour weeks). hi medical <i*-cUs this is knenun as
Shad forth 0 i | Treatmi ■■■• V - > j>, and is obtain-
able through all chemists, • A -' free at. these prices
r mm
'" OBC T.
SIIADFDRTH CITIES IT
MR. WILLIAM SHADFORTH,"'n
iilrnl Shadforth Prc«< ri| I ■ -i\
**• Service, Ltd. /
40 (Oept. PCai) KINC WILLIAM STREET. LONDON BRIDGE, B.C 4
<>r.„
11 ill
Fast End />ravch—6j% (stove Road, /v>:c, F..J.
---./ .,., Gnwags, Holfvrn.E.C.r.; Messrs. Lewis cV Bur
■*~m**sl
•J 1 V* Jrl
fiE^l
THE
HELEN LAWRENCE
METHOD
KILLS THE ROOTS
OF SUPERFLUOUS HAIR
and is different to all other treatment
N.Jl
Safe,
certain,
sod
Nil
electricity ti
in this Met!
harmleti to the ikin. Plcate call to-day or tend for a
• ample and itart thu wonderful treatment in the
privacy of your own home.
Sample suffii ie.nt for fail trial, post free 2/-
Full size home treatment .. 12/6
Pi -iMial Treatment at Kensington 10/6
HELEN LAWRENCE/^SSr ^frlSfcS!
PwUse and special pack-
ins lor abroad, I * extra :
Bransby Williams"
Offer to Film Actors
BRANSBY WILLIAMS AS A JUDGE.
1 0 Lessons in
ACTING and " MAKE-UP "
For Actors, Variety and Film Artistes,
Entertainers, etc., together with special
section on Delivery and Voice Production.
Mr. Bransby Williams, the well-known Actor and Impersonator of Dickens'
' i. ters has now completed his long-looked -tor ( ourse ol Instruction lor Staire
and Film Aspirants. Mi. Bransby Williams ha! written tins Coursi for the soli-
purpose ot supplying t lie demand of Amateurs '■" an authoritative System of
Instruction v\rmh can be studied at home at leisure.
ft will he found to contain information ot pncfltss value to tuos« who it they
I in film Portrailuie, must excel in ths. artistry of make-up ami facial
expression. Ml isbj Williams has. in tins Course o* Instruction, laid the
foundation "t a future career tor. every intelligent student.
What the Course contains :-
Every scrap of necessary instruction on the Art of Acting, cultivate
development of the voice, accentuation of personality, the practice ol elocution.
Ihe Art of Character Make-up and Facial Expression, dealt with in detail, forms
one of the most important and valuable sections ol the Course. Included are
lectures and articles by many lamousJActors and A< tresses.
Tells the secrets of Character-deline-
ation and Make up.
Voice-training and Tone development
explained.
Hn» to run inur nun show in small
halls.
Talks mi Ambition, Appearance,
Illness, Personality.
Important .Sections on Rxprcssiott,
(iesture, Mimicry.
Reciting, Monologue Acting, Amateur
Dramatic Work.
FINE-ART PROSPECTUS SENT FREE
To MR. BRANSBY WILLIAMS Desk 21),
14a, Great Marlborough Street, London, W.I.
I Plea rl me
• Course of A, ting, So
• stamp tor post i->
your 8-page I'ros|
.. as offered in the " Picturegoer." J
N i M K
ESS . . .
State whether Mr.. Mrs., or Mjss).
THE PICTUR&GOE-R
MARCH
at Cuba lint author, star ;in<l din
Iniii that Spain i< would
! i : : ■
; ill plenty will be found in
L the
I I lie month. \
fev in
ing E. W. Hornung's popular
: cen, and the v\ hole
ng does nni contain a single dull
moim nl I he kinematograph is an
ideal vehicle for presenting stories of
this kind. All the excitement,
drama of the novel
is intensified in the film, and Catherine
Calvert, Pei v Marrnont,' and Gustav
ftertitz head an ex
Cjnite apropos
ins film, for there is an
epidemic of things Spanish
over hen- at present, and
Catherine Calvert's semi-
Spai tumes become
hei admirablj Dead Men
Tell Xii Tales is the first of*
several fine feature-films in
which Catherine Calvert will
be seen on British screens
this
\Dana and Shirley
Mason appear in widely
di\ ei sc roles this month. \
splendid cast, headed by
VVyndham Standing, Flon
Turner and Alfred All
support t he captivating Viola
in HUi. kmail, which is a
'i u version oi " Rogues
and Romance, " by Ian ia
Chamberlain. I he heroine is
a Society blackmailer, daugh-
ter of a skilful thief, who
attempts to extort large
sums oi money from a rich
youth. \ lawyer intervem
but, as usual, the woman
win, in the end. Shirley-
Mason's March release is
Merely Mary Ann, from
Zangwill's play of the same
name. It is a good film,
marred only by a totally un-
V fight at the end.
ry Ainley played the role
in elot " in the I ondon stage
i 'ii tin- s, reen it is m
pre ted ii\ ( ass. m Ferguson.
\ Dana's last- completed him
was The. Tivi Doll
Hen from her diary,
;i typical Dann <1
Vlai in clock sou in led.
ind shut it nil. H uk to
bed Entei Mamma. Lifted
out oJ bed bodil) and carried me
to n.\ shower. Did I kick . \\ ouJdn'1
you .- S 55 Speedometei regis b
sixt) an houi Nearly knocked a posl
hizzing into . Mel
Viola re| ( )M
the set Wore tin ,d kid di
I had made lor ' The Poor Little H
(.III (stag<
Irving Cobb *waa there
looked like a million rlollai bab\ oh
• I lollai Mabv to the
life on ii 0.30. Make-up removed
Change into silver-blue - harm*
gown. 7.30. With Ma and I'.,
Alice Lake's for dinn
N
r iue p.m. Gang arrive lor danc-
ing, i wanted to slaw Ma
said 1 must like a rest, so homi
moonlight, look Alice's new scenario
Hale home with me. k,. Home.
Started rehearsing to-morrow's scenes.
Ma ordered me oil to bed. 10. 30.
Spent twenty minutes with Pa doing
army exen ises. He says it sets me up
Pa knows, ti. — Bath. 11.30.— Read-
ing Hate. Cot I'm ited over it. Enter
• I). Laker, lor the \ . ha<
so mm h dran , -itm-lv
ignorant of what
w'hal the way m which
theperfunii itrope," afwa\ -
ciated with the 1 rook hero, is- u
ipon to baffle the adventun
also made much of. I red Burton
father and William 1). Marsh as hit
chum are excellent. Jul
Gordon is inclined to stagim 3 . - the
mother.
M
work
ay Marsh's absence Iron, the
screen has not impaired her
in any way. In The Little ' ;
Lady, her first producl
since her return, she 11
the most of an improbable
story, which strives after
suspense and misses fire
badly. But May's < I.
work atones for mm h. The
production is good, the set-
tings artistic, the exteriors
beautiful. There 1- also a
delightful doe. a„,i a brighl
child-actor, George Bertho-
loin, junior. May. w ho
real life a clever artist, plays
a girl painter, who wishing
to shun society lives the
( a squatter on the
estate of a Judge. M
second screen ollering, So
body's Kid, is a. belter film
than this one. but ii
not reached these d
vet.
I
Mary and Dane at '
Ulan Forrest ami Lottie
Ma with instructions to go to sleep I
said, ' All right, Ma ! ' 11.45. Still
reading. Ma switched off the lights.
Viola waited till she was well away,
and sw uched them on again."
1 1.5s Finished Halt . I
out.
Iei \o\ c. a theme uncommon in
Movieland, (onus the basis of
Heliotrope, a picture that is decidedlj
Merent " and decidedly touchi
I he intense love of an erring fa
the daughter who, owing to his efforts,
been edu an orphan in a
convent, carries him out of his prison,
though his was a life sentence. The
s mother, the villainess of the
piece, tries to blackmail . mil
the storj develops into a game oi cross-
pm poses between the two Great
1 ledil in us I I I" the dire* to- .
3ack to bad-man
) goes Big Bill
in / 1 o Block. A-
Siena Bill," a tigerish out-
law, he is a pow. rful dis-
tinctive figure His dress
is new. though his theme
isn't, but it is intensch
interesting and vital 1:
deals with the evol
of manhood in a \ er\ i tw
harai ter thn
and sorrow and. 1 1st but
not least, a girl \ iol
(very well played b\ Eva
Novakl Han wrote tins sti>r\
himsell . it is good Western melo-
drama, and possesses great apt
" Itchie I leadriek t he I- >ur
old youngster whose blond I
reminds one irresistibly ol [11.-11
Hansen's ilultv crown, plav.-. Hait-
lilm sonny. " Itchie, be it known
is a champion swimmer and diver
and holds more medals than lu-
small chest can comfortably sup]
Harry t arey's March rele 1 If
of the Law. though not one 0
his ver\ best has a tried and trm
formula for us groundwork l.ovi
us dm s in a Texan tow n on tin
borders ol Mexico ought to
v nled much rv<\ blooded act
Instead of that, the live reclcr •
tain dramatii si
This has its thrill, for the villain
MARCH 1922
TMf PICTURE-GO
I Love to Dance
but-OH !
MT FEET!"
Try this and forget all your aches, pains, strains,
corns, callouses, or other foot troubles.
A foot bath in hot saltratcd water is all you need to
any foot pains instantly. Phyllis Monkman
says the saltrated water is wonderful for tired,
under, aching feet, or any ether foot troubles. As
i Iocs not affect sound, healthy skin in
the slightest degree, but nets only on the dead,
hardened skin composing corns and callouses, which
it softens just as water softens soap. Then pick the
corn right out. root and all. like the hull out of a straw-
berry. Merely cutting the top oft with a razor or
burning il off with caustic liquids, plaster-,, etc . is
is logical as cutting the top orl an aching tooth, and is simply
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The IV
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LONDON SCHOOL OF CARTOONING
34. Paternoater Row, EC ■«.
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54
THE- PICTUR&GOE-P
MARCH 192
a tit ol tardy remorse, commits suicide
l.v plunging over a cliff on horse-
bai k I Lin \ ( are) ha pathetic
role; he is more human than ever, an. I
his powers ol restraint, not to speak
ot his horsemanship, make Ins an un
usually interesting study of ' Jim
Kyneton." Gloria Hope is his leading
lady.
(~\'irey's Universal contract is now
/ at an end. lie was in New
York quite recently, where he and
Will Rogers renewed an old friendship.
Harry took Mrs Carey and Miss Carey
with him. I Jut when Eddie Polo,
who, lor some reason not yet made
public, has abandoned his role of
Robinson Crusoe for Universal, arrived
on the scene, Harry basely deseited
them, and, at the time of writing,
Messrs. Polo and Carey are still
among the missing. They have gone
into hiding somewhere in the wilds,
and the outcome of it all ought to
be interesting. No one knows exactly
where the pan are except Mrs. Carey,
and she won't say.
Some excellent melodramatic effects
hav been achieved in The
House ,>f flu Tolling lull, a Stuart
Blackton Patbe production. The
atmosphere, too, is good, the house of
mystery being located in Louisiana,
where the coloured folk are known to
be intensely superstitious. It is not
prc< isely a ghost story, but what with
sliding panels, creepy shadows, eerie
hands that disappear, piercing eyes
and other aspects ol spookland, to say
nothing ol the (oiling bell that gives
rise io such weird reports, picturegoers
will gel their money's worth of thrills.
However, all these seemingly uncanny
happenings an- shown to be human in
origin, and a cheerful denouement, with
the ominous bell ringing a merry
wedding peal, brings an exciting Story
to a satisfai tory i lose. It 1^ a
kinematisation of the novel of I
same name by Edith Sessions Tupper
May M \ oy and Bruce Gordon
are the stars of The House of
the Tolling Bell. May McAvoy some-
times describes herself as " The Girl
Who Wail There are many ways
towards film fame, if we are to believe
the biographers, but May's way is all
her own. Waiting for an actress
friend was she one day, when a friend
of that friend saw her, and asked for
an introduction. This introduction
led to a visit to a film studio and the
introduction of May McAvoy to him
work. May became a maid pro tern.,
and waited (for film purposes) upon
many famous stars. Then she played
Madge Kennedy's sister in The Perfect
Lady, and a succession of " sistei
parts folio ved. She was waiting,
Micawber-like, for another job, when
J. Stuart Blackton engaged her as
teatured lead for a series of pictures,
of which The House of the Tolling
Bell is the first to be released this
side. These days, twenty - year - old
May is a star, and her " Grizel " in
Sentimental Tommy is her biggest
achievement.
A full year was expended on the
making of The Queen of Sheba,
the biggest spectacular offering of the
month. J nst how this came about
sou may read on page ten of this
issue. Whether it has justified p cast
of 10,000, its 130 acre sets, one of
which is a faithful copy of Sir Edwin
Poynter's well-known painting, its
205 horses and 31 chariots, must lie
left to the spectator to decide. Vir-
ginia Tracey, authoress of The Lotus
Eaters, wrote the story, and J.Gordon
Edwards, who directed also Salome
Brvant Washburn offers some friendly advice to Cullen I.andis, who is suffering from
a had attack of engine trouble..
and Cleopatra , wielded the megaphone
It is pnm.-ii'h a love story, but it h.i
one big 1 hnll at the end. and the ai tin
of Betty Blythe, Fritz Lieber, an.
appealing little Micky Moore, is e.\
cellent. Photography is excellent toi
and picturegoers who like spectacr
lars will find this one very miu
highly satisfat tory.
'Pommy Meighan puts it on reco •
1 that he does not care tor hin
sell as " Conrad " in Conrad in Ou,
ot His Youth. Many will disagrc
with this dictum. Anyway, the filrr
the full story of which appears in t\v
issue, is good entertainment, and we
directed by William De Mille, is we
worth a visit. Leonard Merrick wrot
the novel upon which the film i
based, and an all-star cast interna
his characters exceedingly well. Man
of William De Mille's directorial effort
are due in Great P-itain this year, and
remains to be seen whether or no h
will oust his more spectacular Lrothe
Cecil from popular favour. It is t
the thoughtful picturegoer that Williai
De Mille appeals the most.
His best for many a long day "wi
be the unanimous verdict c
Earle Williams' " fans " when the
have seen / he Romance Promoter
A good comedy idea, plenty of inc
dent, an element of mystery we
emphasised, and suspense enough 0
hold one's interest throughout, at
the salient points of it. Earle Willian:
is kept pretty^ busy as an agreeabl
young man, engaged by an eccentr
millionaire (there's no end to tl
e« < entreaties of the Movie Millionain
to protect his pretty daughter froi
a gang of grasping trust' ss. As Hele
Ferguson plays the heroine, Earle hr
every excuse for doing his best. Cjuh
a light entertainment is The Rom am
Promoters, but very pleasing.
1? thel Clayton has a fantastic stor
-/ in Sins of Rozanne, the scree
version of " Rozanne-Ozanne," b
Cynthia Stockley. The actions of tl
heroine are guided by a snake-charme
who wields a strange and malign ii
fiuence over her. Also " Rozanne
possesses an unpleasant habit 1
raising her clenched hand ti
people who annoy her, with ((■
them) most disastrous results Tin
the African snake-charmer dies, an
the girl's nature changes entire!
The film is unworthy of Ethel Cla;
ton's talents. Jack Holt. Fontaine I
Rue (who will be seen " vamping
hard later on this year), Mabel Va
Buren, Clarence Geldart and Fn
Malatesta support. Tom Form
directed this feature, it being his fir
directorial venture. He and T<
Meighan have formed a clever cor
bine as due. tor and star of late,
\ \ re have received a friendly pr
\ \ test from the Gaumont Studi
concerning the article, "Short ar
Sweet.'' published in last month
71 ARCH 1922
THE PICTUR&GOtf?
55
FASHION DRAWING.
FASHIONS CHANGE
and it's just the same with Art
To sncceud, the Student neeiK the latr*M and most ujt-
to-datc training available, J 'his is just what wc give
J.K>m.»\> at Studios, morning, afternoon or evening,
or i'\ post.
FASHION DRAWING. POSTER, BLACK
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LETTERING. also taught. Help given
to positions. Sketches bought and sold.
\
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J>r(Vtvn by a
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STUDENTS CAN START ANY DAY
Write for terms : The SECRETARY,
The COMMERCIAL ART SCHOOL,
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Miss KATHLEEN
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She uses TWO Creams
To preserve youth and beauty two creams are necessary (1) Pond'a Vaniabini! Cream in the
daytime, to make the akin soft, smooth and attractive and to preserve it troro blemishes
C»ns«d by axpo»ure.-(2) Pond'a Cold Cream before retiring at night to clean the pore,,
supplement the natural oil in the skin and prevail or remove linta. crowsfeet and wrinkle*.
BY DAY.
After your morning toilet, before going out of
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wnd on a dozen and one occasions during the
day. give your face, neck and hands a light
ljuch of Pond's (the Original) Vanishing
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BY NIGHT.
Brlorc retiring to' rest smooth Pond's Cold Cream well
into the pores of your (ace. neck and hands. 1 hen wipe
the cream gently off with a soft towel. You will be
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Cold Cream has removed from the skm 1 ond s Cold
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START USING THESE TWO CREAMS TO-DA,.
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56
TME PICTUREGOtR
MARCH !92:
I
iiiiiiiHiiiiiiiiiniii i
T7ILM
AVOURITES
F?LRM Fans
60
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OF KINEMA PLAYERS,
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A railway thriller in the makint
Filming a scene from
from the engine.
special platform built o
issue. This article gave a humorous
account of the production of a low-
life dram, l, and Gaumonts fear that
the reference to the " langwidge "
used on the sot might lead people to
suppose that swearing is allowed in
their studios. This, of course, is not
the ease. It is pleasing to reflect at
the present time, when American
studio conditions are being attacked
with greal malignity by the enemies
of the kinema, that the conduct of
our British studios leaves nothing
be desired.
On the tight side, also, is Why
Trust Your Husband ? the story
of two married couples and a m
querade ball. Eileen Percj and Harry
Myers arc the stars ; but, to our mind,
Eileen is better suited to conn
drama than farce-comedy. Skirts,
too, a long feature, with Clyde <
and a bevy of pretty girls, is slapstick,
accompanied by all sorts of claboi
mechanical extravaganza, some of
which is introduced upon the very
slightest excuse. Some circus scei
arc very interesting ; and the Singer
Midgets, and the huge shoe which
serve-, them for a house and then
floats gracefully over the house-tops,
will cause great amusement. The
film ts full of chuckles.
Another spectacular to be seen
this month is Shame, a story
of Chinese life in Shanghai and San
Francisco. Main exciting incidents
culminate in a climax staged in
Alaska during a more than usually
bad frost Kmmett J. blviin, whose
Yankee at Ihe Court of King Arthur
found so much favour this side, super-
intended the filming of Shame, which
has some effectively-coloured scenes
introduced amongst other Oriental
effects Ko-.em.irv Theby and |ohu
Gilbert star, and George Seigman
Doris Pawn, Mickey Moore, Frank
Lee, and Anna May Wong (a clev
Chinese lassie) support. A Thousan
and-One Xiglt; is n Pathe colour fill
scenically beautiful, but with a wt,
fairy-tale kind of plot. The stars a
Mile. Dhdiaand M Sylvio de Pedrel
Other releases of the month a
Scratch My Hack, a well - to
and fanciful story, very well acti
and produced, of which Helen Cha
wick and T. Roy Barnes arc tin
Trust Your Wife, featuring Katheri
MacDonald, a " husband-and-wife
story ; and Water, Water
a Will Rogers prohibition atfa
British picturisations of well-knov
Is include The Wonderful
with Mary Odette and Lionelle Hovva
as hero and heroine ; Soma, wi
(live Brooke, Evelyn Brent, and 01
Hytton ; False I'eidence, with Cei
Humphreys and Edna Flugartl
Knight, tyrant, with Madge Stuai
Olaf Hytton and Norma Whalle;
and The Further Advcnlm
mes, with F.ille Norww
appearing in each episode in t
name part.
I)icturegoers who did not see Gr
fith's II i Fast at l
Empire Theatre, London, will ha
other opportunities this month, lor t
feature will be presented by Mo
pires, Ltd., at their numerous '. irci
houses in turn. It will be seen in all t
principal suburbs and provincial towi
and is the first film to go on tour in tl
wav in England, tor it is not st hcduli
for release in ordinary picture theatfl
The orchestral store, which was i
dly compiled for it. adds
to tin realism, especially whe
. ts," such as t he rushing ol wat*
during the ice scenes, are intru
ARCH 1922
THE- PI CTU PE-GOE-P
57
WAS A SIGHT FROM
' SUPERFLUOUS HAIR.
I Cured it Quickly. Root and AH,
so it Never Returned.
will Send Free Full Particulars of the Sacred Hindoo
Secret which Cured Me.
,.rs I was the victim of horrid hair-growths I was
Every time I met another woman with thi-i " mannish " mark and saw
oiled her looks I became the more distracted, for I bad tried all the pastes,
! oilier "hair removers" 1 had ever heard of, but always
ith the same unsatisfactory result.
Finally, my husband, a note and an
officer in the British Army, secured from ,i native
soldier (whose life he had saved) tt»
closely-guarded secret of tin; Hindoo religion,
which forbids Hindoo women to have the slightest
trace of hail except t ho hair on their head 1
used it In a few days all my hair growths
had gone. • To-day not a trao. lound
It has been killed for ever, root and all. My
experience with this wonderful remedy v.
remarkable that 1 feel it my duty to tell my
experience to others afflicted that thej
profit by it, and not waste their time
on worthless " concoctions," as I did.
Therefore, to any lady who will send me the
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IMPORTANT N0TE.~Mrs. Hudson belongs to a family high m Society and
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( Rosemary in thr
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wearing h'e. r
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jROUND THE WORLD OF POPULARITY.
(Continued from Page / i I
Suspicion of " nastiness " about her
jilms ; seldom — never, one might
afely say — does she, as heroine,
perform a mean or dishonourable
Lction on the screen This, not to
peak of her beauty and winsome art,
xplains her world-wide appeal.
I lour hundred and sixty missives in
lay, all from abroad, is Enid
iennett's record. England, Australia,
tfaineand Canada (Colonials dote upon
inidt provided most of them And
nostly the writers were women.
harles Ray, though, is more popular
nth men than girls, if his secretary
)e a true judge South Africa, New
i'ork, and country towns all over
America (where the " small town
■xists just exactly as Charles Kay's
m tures lead you to believe) love the
screen's shy hero. In this case it is
is much " like and like " as anything
dse, although sophisticated Paris and
Madrid have each a warm corner in
hi lr hearts for Charles.
The Talmadges, too, are popular
dmost everywhere. Norma for her
womanliness and charm, and
mce for her gay, spirited corhedy
vork. They are the embodiment of
he girl of to-day at her best, and
->oth Europe and America vie with
me another in worshipping them.
Violet Hopson, the British star, is
best beloved in New /(.-aland and the
British Isles A peculiarly British
type (on the screen her portrayals of
sport-loving and home loving English
womanhood are the best of their
kind), her dark beauty carries with it
a sense of steadiness ami sympathy that
causes many women, but more men,
to write and tell her all their troubles.
Every other girl in England and
South Africa who doesn't possess a
big brother of her own appears to
look upon Gregory Scott as " the next
best thing." Certainly his popularity
is greatest amongst the fair sex of these
parts. The North of England is especi-
ally keen about him, and does not
hesitate to express its feelings on paper.
It is predicted that Rudolf Valentino
is the coming world favourite. Rudie,
a combination of Wally Reid and Tony
.Moreno, is younger than either of these,
and of Italian birth He is a tem-
peramental youth, and is not exactly
overjoyed at the prospect before him ;
for he wants to attempt character
studies and strong acting roles, and
fears that too great a public may
debar him from this. Time will
show, anyway. Popularity is not
achieved Overnight, whatever press
agents may sav to the contrary, and
though these popular idols disseminate
their shadow selves across the face
of the earth without stirring outside
their own home town, they have to
prove their worth. Otherwise their
first trip is also their last, and they
quickly pass into the limbo of for-
gotten things. j_ ].
THE .VAMPING OF SOLOMON.
cloud of diisl and the w hii
spiked wheels and hoofs madh -
the air. Tom secured an entireh un-
rehearsed thrill, which nearly brot
a painful death to one of the drivers
The four-horsed chariot careering be-
hind his overturned vehicle escaped
running him down as he lav helpless
by a matter of inches.
Betty' Blythe, whose beauty has a
strong appeal apart from her restrained
acting in a difficult role requiring very
delicate handling, also stands out in
the chariot-racing scene. Her tender
love passages with Solomon, and her
gripping frenzy at the discovery of her
lifeless son in the gloomy death to
do not remain in the recollection so
forcibly as her reckless race in the
arena with the- jealous Princess Vashti.
There is a primitive appeal about the
beautiful Queen, with her face lit with
the thrill of conquest and her unbridled
hair streaming in the wind, as she
drives her team of white Arabs to
victory amidst the applause of list
thousand spectators
Directing the comparatively small
lenses of film cameras on to such giant
sets and mob groupings required all the
art of the producer and the can,
men. Otherwise, panoramic views
robbed of the human element would
have resulted.
58
THE PICTUR&GOE-I5
MARCH
[HE IMPORTANCE OF BEING ERNEST.
nlinucd from Page i(>.\
Testimony," Ivy Duke told me,
"is the only film I've appeared in
alone. It was a very interesting role.
too. I like each new part to be
different from the last. I had to j^et
lost in the snow at the end, yon know.
We did all that in the studio. The
tree under which I was found was just
a studio tree. You know the kind.
Instead of branches it had strings and
things to keep il in position Ami
that cold, cold snow was salt So
were my tears. I eried a lot in that
film Guy usually tells me a sad little
Story of some kind to make me cry .
only once I begin, I < i v and cry and
cry, and rant stop, whi< h is awkward
sometimes, "
Ivy doesn't look like that. Sin-
seems to be always smiling and
dimpling, but we'll take her word for
it. And then we hail an interruption.
True to his word, the lion Set
had sent a Committee member to
invite Ivy Duke to join the Kinema
(~lub. Hut Ivy declared she had
already made up her mind to, and
thought we ought to go and rescue
Guy from the lion. Sec. So we went
down again and sent a messenger up
to the billiards room in search of him.
\X 7e returned to the subject of
V (lot lies again. Ivy Duke
seldom dresses m light colours, except
on the screen. " For day wear es-
pecially,'' she said, " I prefer black
or dark navy or something that is
dark, I like simplicity ol line, too
Larue made my frocks for The Per-
sistent Lovers, and all my Bigamist
gowns and negligees came from Paris.
She described some of her clothes in
The Persistent Lovers, which you will
see some time in May.
Yon never asked mc about my
clothes. I wear three suits in The
Persistent Lovers, and no one will lie
the least bit interested in them. I
think those black and white Riviera
Brogues 1 had on ought to be described
on the posters.'' Guy Newall had
returned to us quite unharmed, and
wearing an injured expression which
was irresistibly comii
"Of course, I really wore them
because they matched Ivy's dog," he
concluded. " And I've seen all over
the Club, and told your friend the
Hon, Sec. that I want to join at once."
How did you like America ? " I
asked him, as we prepared to leave.
Very well, what I saw of it. Of
course, I've been in America before,
you know, I was there with Marie
Tempest a few years ago. We had a
season with "The Duke of Killie-
crankie," in New York. Now we're
commencing Boy Woodburn next
week." he went on. " We've bought a
farm in the New Forest and trans-
formed it into a racing stable. We're
stocking it with hunters and m\ Argen-
tine roan mare (I brought her from
America) is down there all ready for
her first film, f play ' Jim Silver.'
Incidentally, Guy is scenarist.
adaptor, and producer as well.
He's also managing director of George
Clark Productions, and told me that
he had so much spare time that he
thought of writing novels. Which
statement yon ma)' believe it you
don't know Guy Newall.
I find it easier in the long run to
do my own scenarios," he said, and
then described the new studios at
lieaconsfield . They stand on six ai res
ill ground, and will be wonderful when
everything is finished. I enquired
as to his favourite production.
My next," he replied, M\ next.
Always,"
FVom below 'came an impatient
Toot-toot." *
My car," said Guy. " I think
we'll brave the fog."
So wc crept downstairs, hoping to
escape the linn Sec. But it was not
to be. He was guarding the door. les<
his lawful prey escape without the
Entrance Forms his watchful care had
provided for them.
1 shall die happy now that
I know you've seen the Kinema
Club," he chortled, presenting Guy and
Ivy with a folded document each, and
me with a look of withering contempt.
Interviewers," he announced,
with folded arms, " ought to be made
to pay double entrance fees. Can't
think why they're allowed in."
Come down to Beaconsfield with
us in the car," Guy Newall suggested.
You can fight it out on the studio
floor, and we'll film you and present
(he result to the Kinema Club''
Ivy Duke thought that a fine idea.
" We could call it ' The Persistent
Pest ! " snapped the Hon. Sec,
and glared.
Plague ! " retorted the interviewer,
and glowered
"Good-bye." chorussed Guy and
Ivy through the fog. " We'll back
you both ways."
Seriously and in dead earnest, does
anybody know of a really good weed-
killer ''. josll. I'. I EDKRliR.
THE MAGAZINE COVER GIRL.
((Milium,- 1 from Pa i ->j.)
persistence, she achieved the dis-
tinction ol having a part written in
for her, and as " The Centur\ Girl "
stm^ and danced her way into the
hearts ol impressionable Follies audi-
ences
By that time Marion was well on
her way to stardom in the motion-
picture studios. Her first film ex J
perience was at Maine. Palm Beach.
Florida. With other holiday-makers
she was filmed in a Topical (and a
very lovely bathing suit), and a few
days later, on her way back to the
hotel after seeing herself on the
screen, was buttonholed bv a pro-
ducer who had been to the same sli
and earnestly requested' to make a
film or two. It took three days for,
Marion to make up her mind And
the idea of writing her own stor\
and titles tempted her quite as much
as the acting chances But she did it.
In a story called Runaway Romany,
which, as its title implies, concerned]
gypsies, Marion Davies successfully
proved her right to live (in celluloid)
She returned to musical comedy to
fulfil certain standing arrangements,
and then entered Screenland for good
and all in a series of six Select pro-
ductions.
The first of these was Cecilia of the
Rink Roses. Others were : The Burden
of Proof (" Diplomacy " in a new
dress), and The lie/It of \'e;e }'ork.
Some of these were good ; some were
in 't .
To Famous - Players' New York
studio Maid Marion next migrated,
and in The Dark Star (a most con-
vincing kiddie was she in the earlyl
scenes of this), April Folly, The Rest-
less Srx, The Cinema Murder. Super-
man, and Getting Mary Man
showed that both versatility and
charm were hers, besides beauty anri
a captivating personality.
The Marion Davies Productions
s< 1 1 ke a decided note of their own. That
feeling for the mediaeval, afore-men-
tioned, dominates them all, from her
first to her latest, now in the course
of production.
Marion Davies herself disapproves
of her earl} work. " 1 know perfectly
well that my first pictures weren't
good." she recently remarked. " But
my succeeding ones were better. And
my future productions are going t<
be just as good as I know how ti
make them. You may be quite sun
of that.' What can "fans" asl
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and
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Arch
1922
THE- PICTUR&GO&R
59
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60
THE PICTUR&GOE-R
MARCH
CO NK AD.
The mult- app( al ol In
Wait for me and I « ill come l.o
you," .she promised
Conrad sal impatiently in his
until a late hour. He fell that al
last the old thrill of love beneath
Italian skies would In- his that night.
He snuggled down into an arm
r and drew at his pipe with an
mtentrnenl .
The minutes pas id Conrad
yawned. His head began to nod, and
his ih< kered slowly down-
w a r< Is .
When a slight form in a. diaphanous
dressing gown stole discreetly through
the I'rein h windows from the balcony
that led from her room, there was no
low try of welcome or encircling arms
waiting to crush her. Only a sonorous
Conrad had failed her.
She laughed with just a tinge of
disappointment, but there was relief
there as well.
The happy dream was over.
She scribbled a few hurried lines
on a scrap of paper and pinned it near
the drooping head of her neglectful
lover. Then she glided bat k to the
balcony.
The light of dawn was stealing
ough the window when Conrad
awoke with a guilty start.
Curiously he lifted
from its resting place and scanne
with sleepy i
There is no road hack to seven-
i . Good bye," he read.
She had gone. And he was not
heartbroken or miserable nigh unto
death as he had been when she had
left him before. He was not even
sorry, he realised with a dull dis-
appointment. His romance had not-
bloomed anew or brought back that
elusive thrill ol youth's blind un-
reasoning love.
I^Vitc, in the form of a missed train
connection then intervened. Once
again the faithful Dobson had packed
the trunks, n\\<\ Conrad, sad and
dispirited, was on his way back to
England. At a provincial station
he found that he had three hours to
wait. The wind swept platform did
not appear particularly inviting. lie
would walk through the town, he
thought, and pass the time that
way.
In the street he paused a moment
to read a contents bill of a music hall.
A cry of dismay in a girlish von e
brought hiin swinging round on his
heel.
Two neatly girls were bend
ing over a shabby suit case that lay
on the pavement. A broken catch
had deposited a flimsy mass of feminine
apparel on the mi .stones.
irad raised his hat and proffered
A pair -I expressive grey eyes wi
onrad's sympathetic
nisi i liallengnig
glance o! distrust to fine of gratitude.
It is very kind of you," said a
musical voice. " I v ing my
bag to the stage dooi and it
suddenly collapsed."
I he damage is soon repaired."
laughed Conrad, gathering up filmy
garments with commendable lack ol
embarrassment.
Let me take it round to the
door." he suggested, lifting the
trary contrivance in his strong arms.
He was hatching a little plot then.
For he liked the girl with the fine
eyes and the musical voice.
He saw an opening with the aid of
the opportune bag. of getting better
acquainted.
At the stage door the trio found a
gesticulating mob of loudly dressed
actresses and long-haired actors.
He's bunked with the. money,"
said a hook-nosed man in a grey
bowler hat and check suit, who was
haranguing the excited crowd from
the steps.
There were murmurs of rage from
the men and a tightening of the lips
of the white-faced women. Many-
miles lay between them antl their
home towns, and the shabby purses
clutched in their fingers held but a
few pen.
The companion of the girl with the
grey eyes clutched her friend's sleeve
with a cry of distress.
What shall I do, Rosy ? I haven't
a penny," she moaned.
Conrad understanding^ took in the
situation at a glance.
Does this mean that you won't
get any wages this week ?, " he asked
sympathetically.
Before the reply came to his question
the man in the check suit commenced
to speak again.
" I'll tell you what I'll do," he said.
" I'll run the show until the end of the
week, antl pay over to you what's
left of the profits after I've had my
share. That's the best I can offer
you."
It's better than nothing," advised
the men. " We'd better try it out."
In a melancholy stream the stranded
artistes disappeared through the
doorway,
" I feel now as if I'm one of you,"
saitl Conrad, turning to his new-
friends. " I'll meet vou after the
show and we'll talk this matter over."
His friendly smile proved irresistible
to the distressed girls. The sudden
misfortune that had come their way
had broken down the barriers of
reserve that exists between strangers.
They brightened visibly at his
suggestion. *
" Come in and see the show, ami
tell us what you think of it," they
invited ; and Conrad, thoroughly
pleased with his adventure, agreed
with boyish enthusiasm.
Have gone broke — fix up rooms
ie best hotel," ran the message
agre<
i hat was banded in Dobsoi n t
railway station ten miniiti
' The show's bad [
won't bring you in .. pen:
Conrad frankly when h
newly made friends after viewing t
worst revue that he had ever
misfortune to sit through.
I know it's hopeless." admil
the girl that Conrad had he
addressed as Rosic. "I'm afia
we're badly stranded."
Conrad's kindly eyes gazed on t
white, pinched face of the el
and had a sudden inspiration. S
looked famished.
What about a jolly little feed
your rooms ? " he suggested, with
naive frankness thai had no su
gestion of offence.
That would be great,"
Rosic. " Let's go shopping.'
Up the narrow stairs leading to tl
third-floor apartment of the the
girls Conrad staggered loaded
succulent eatables
Pie deposited them on the table. 1
held out his hand.
" I must be going now," he sa
A pair of grey eyes merged fro
excitement to disappointment.
But won't you stay and join
for supper? "■ said Rosic who h;
begun to like the tall, kind-heatt(
stranger.
And Conrad wanted no secoi
invitation.
For several days Conrad stayed
the dingy provincial town, ai
he was a frequent visitor to the thir
floor apartment.
On the Saturday Ik- slipped a w;
of notes into the hand of Kosk
friend.
" I want you to accept th<
loan to help those unhappy people
pay their railway fares home," I
said. " I'm sure they won't get ai
money to-day out of that terrir
show."
A pair of watching grey eyes lookii
on softened as they saw Conrad
generous impulse.
" How good of vou to think of the
in that way ! They'll bless you f
that," said Rosie's friend, with hear
felt gratitude.
When she had gone to carry tl
good news to her fellow-
Conrad turned to the girl standing 1
his side. His pulse quickened
shyly she dropped her eyes before tl
ardour of his gaze.
It was good of you to think
my friends in that way." sh
softly.
i I was thinking of you," I
whispere >n't you guess that
have learned to love vou ?
He felt real emotion now, so differe
from the llicker of affection that I
had felt in Italy, although his ronian
there had been tinged with the radian
of the past.
She raised her beautiful head ai
looked franklv into his strain*
vCH 1922
TH& PICTUR&GO&R
! I am only a poor chorus girl,'' sin:
id quietly. " You are a rich gentlc-
,;n You could not want to marry
He i aught her in his arms.
1 love you, lie repeated passion-
ely. " Is that not enough ?
as young again. I lis quest was
an cud. He had found that whilst
; adored he was young.
She slipped from his embrace, but
bt angrily.
I am going away today. she
hI. If you still want me after you
nought everything over, gi
ady Darlington and ask her about
in a flash she had gone.
Qacl* in his town house Conrad, with
j ihe ever-present memory of
puling grey eyes and a rosebud
outh that bewitched him, searched
hly through " Debretl 's Peer-
\ ixi, Dobson, and tell him to
Live like the wind," he shouted when
le address he sought, was forth-
■ 11111114.
" Lady Darlington will be down in
minute, sir," said the grey-haired
utler who admitted him.
The rustle of silk, a happy laugh,
nd Rosie stood before him.
Vou '. " he said, incredulously.
Ves, I — Lady Darlington,'' she
miled. " I wanted to keep my real
lentity secret. I was only visiting
ii old friend of mine when I met you.
to be on the stage before I
karried my late husband, and 1 just
anted' to get amongst the grease-
aints and footlights once again for the
if old memories.''
" Rosie," said Conrad, cutting short
er breathless explanations, " I still
an! you more than e\er."
She did not resist his strong arms
' Why do you want me so much ?
ked, smiling up happily into his
i e,
" Because," said Conrad slowly,
rith a new light in his eyes, " because
on have shown me the was- back to
i
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Discard cuticle scissors. Try this modeir
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Cutting will ruin your cuticle
V'/HEN the cuticle is cut the skin at the
V base of the nails becomes dry and
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A famous skin specialist says : " On no
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Over and over other specialists repeat the
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It was to meet this need for a harmless
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The safe way to manicure
In the Cutex package you will find an
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NORTHAM WARREN, New
To remove stains and to make the nail
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POST THIS COUPON WITH 9d. TO-DAY.
Northam Warren (Dept.PG.l),
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THE MOTION PICTURE
STUDIO
The only Weekly Journal devoted solely to the interests of British Film A
Producers. Camera-men, Scenario Writers, etc
On Sale Each SATURDAY, Price 4d.
62
THE- PICTU R&GO&R
WHAT DC) I
YOUTHINI^f
IfourVusw £) Ours
A READER, whose middle name
^"*- is Pessimism, has sent me a
long tale of woe, the theme of
which is the decline and fall of the
ki nematograph
Lei's He industry. I
Miserable . have seen all the
super- fi 1 m s o f
1922," he begins, " and, frankly, f
am not impressed. What h;is be-
come of our progress ? We are not
going forward at all ! Let the
terrible truth be written : We are
sliding down hill ! The kinema has
given us of its best, and 1 can only
regard the future with dire fore-
bodings. Many kinemas will be
closing their doors before very
long."
p HAT'S a nice cheery opening
A for this month's Readers' Par-
liament. II we went on like that
we should soon become as un-
pleasant as the
Enter An West minster talk-
Optimist ! shop. Happily,
however, there is
an optimist in our midst. " I have
seen both film and stage versions
of The Sign on the Door," he writes,
" and the movies leave the legitimate
stage a hundred miles behind.
Norma Talmadge is wonderful, and
the film, as a whole, is immeasurably
superior to the stage version. Whal
is t he matter wit h t he movies ?
Nothing ! They're all right."
'"PHERE you are, then. The op-
-»- timists see one side of the
medal, the pessimists the other.
What do you think ? Are the
movies advancing,
What About are they back-
II ? sliding, or are they
standing still?
We'll have a readers' referendum
upon the subject. Measure up cur-
rent productions with past successes,
and let me know your verdict.
LECTURING to the Stoll Picture
Theatre Club on " What the
Public Wants," C'K. Chesterton
launched a scathing attack upon
producers who
" G. K. C." make an indis-
on the Movies, criminate selection
of famous plays
and novels for movie adaptation.
He instanced Thackeray's novel
Vanity Fair " and Shaw's play
" Pygmalion " as two works that
could not be translated into motion
pictures with any degree of success.
I saw in the paper the other day,"
-aid he, " that someone was adapting
' Pygmalion ' to the screen. It
would be just as sensible to write
that an artist intended to paint
Beethoven's ' Moonlight Sonata !
What do you think ?
' \X 7"HY is it that screen musi-
» V cians -especially violinists
— never seem to know how to play
then instruments? People pick up
a .fiddle and start
Those Movie to play it without
Musicians. the faintest pre-
tence of tuning it ;
they hold it all wrong and draw the
bow over the finger-board. As a
violinist myself, these little faults
have set my teeth on edge during
more pictures than 1 cm count.
Surely, with the ait of the film al
SIN h a high standard, a few lessons
would not be too great a price to
pay for pei lei tion. There is no
need to bother about the sounds
MARCH 192
produced, but they should be pa
ticular as to the way to hold tl
violin. Eric Stroheim in Blind Hu
bands knew what he was doin
and he tuned it softly before joinii
in." M. R. {Dunj'ermline\
RECENTLY I saw a picture
which the hero and hen
stood upon the seashore. Pointk
to the right-Tiand side of the sea;
the hero remarke
Let There Be via a sub-tith
Light. that it was a bca*
/
the scene in question was a uniqil
tiful sunset. V
example of back-lighting, the sui
light making a dazzling halo in t't
heroine's hair and casting sho
shadows toward the front of tl.
scene. Then, again, so mam
dies throw their own shadows on tl
wall, and in the darkened room th;
has drawn blinds a brilliant ' spo
light ' plays sunshine tricks in tl
heroine'-, curly locks. Why i< it
The most authentic lighting I ha\
seen has been in ' Swedish ' picture-
in which more attention seems I
be paid to obtaining truthful an t
possible pictures, and not so nun
to the craze for ' back-lighting' ijt
every scene." G. P. W. (Finchie\
Verily, you readers are gettii
mighty technical in your criticisn
of the movies. It is a good
because it proves the very kee
interest taken by picturegoers il
all matters appertaining to tl
s< reen. The legitimate stage h;
been ruined by the lethargy (II
model n theatregoers ; may the sere
alwavs breed such keen critics i
its imperfections !]
\ \T'1() is the greatest ma
* ♦ emotional actor on tl
screen ? Picturegoers are rallyir
in support of their own particuk
idols, and mar
Artistes I u artistes have bet
Emotion. allotted the throi
of honour. Sessi
Hayakawa. Henry Amley, Mat hex
Lang, Charles Chaplin, Lille Norwoa
Wyndham Stand
ing, W i 1 1 i a m
Farnum, Ho-
bart Bosworth,
Thomas Meig-
han and main
others h a v e
been mentioned.
What do you
think ? Letters
should be ad-
dressed to
" The Thinker,"
c.o. " Picturegoei ,"
93, Long Acre,
London, W.C.2.
JHb PICTUf^bGOtk
J
milium ii m i u m 1. 1 ,
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 Ml
OTHER FINE
■ FEATURES ■
DOUBLE -PAGE ART PLATE
of Guy Newall.
SIDELIGHTS ON THE STARS
(Eileen Percy).
BEHIND THE SCREEN
(Film News of the Month1.
LET GEORGE DO IT
("George" will answer any
question you care to ask).
PULLING PICTURES TO PIECES
BRICKBATS & BOUQUETS
(An opportunity to expound your
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"P/CTVRR.S" is a
sister publication to the
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PICTURES
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Thousands of visitors to both theatre
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The Film Story of the Great Play
is given complete in the April " PICTURES."
To read this gripping tale will double the
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have achieved a success comparable with
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Some of the other stories which will delight
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the story of the Allied Artists film ;
"OFFICER 666," the story of the
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THP PICTUR&GO&R
APRIL If
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IL 1922
THE PlCTUf?&GOE-(3
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Inside will be found aids to beauty in every
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stars who are so vitally concerned in looking
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THE PI CTU RE-GOE-R
APRIL
With a film featuring Wyndhar
Standing on the programme anj
" Turfs " in your cigarette cas<
a happy evening's entertainmer
is assured.
" Tui'fs" make friends wherev^
they go. They're such Ri
cigarettes — so well made,
delicately fragrant— that yc
would expect to pay much moite,
for them than the price marked
on the packet.
If you are not already a "convert.:
try a packet to-day and judge them
for yourself.
&.. "Turf" Jubilee are 20
M for 1/-. Ask for "Turf?
Derby (20 for 1/3 J it
you like your cigarettes a
v, little larger, and "Turf"
Big (20 for 1/5) if you
■Bk want the largest size.
APRIL 1922
THE- PICTUREGOE-R
12
14
CONTENTS
FRONTISPIECE: George Walsh
AN APRIL DURY
GRIFFITH AND THE GISHES ...
All about Orphans of the Storm.
THE SAGA OF SJOSTROM
An interview with Victor Seastrom.
"DIANA OF THE CROSSWAYS"
A big British picture in the making.
BEHIND THE KINEMA SCENES
A day in the li/e of a Kincma Agent.
THROUGH THE WORLDS KEYHOLE
How an Animated Magazine is produced.
APRIL FOOL!
SHORT CUTS TO SUCCESS
How Kincma players achieve stardom.
BIG BOY BLUE
Monte Blue talks about his work.
PICTUREGOER ART GALLERY . ...
Art-plates of Alma Taylor, fames Rennie. Wyndham
Standing. Pauline Frederick. Chrissie White
MOVIE MILLINERY by FLORENCE V1DOR
A page of Fashion Pictures.
DOUG. AND MARY AT HOME 32—33
Double-page art-plate of " Pickfair.
MOVIES IN THE MAKING — THE LEADING
MAN 34
"GOING SOME" The story of the Coldwyn film. 35
COMPRESSED CAREERS: Dorothy Dalton 39
THE LAMPS OF LLOYD 40
Harold Lloyd — just a comedian.
MR. AND MRS. PICTUREGOER AT
FUTURIST BIRMINGHAM
THE GLAD-EYE GIRL
Priscilla Dean entertains an interviewer.
SHADOWLAND ... ••■ ■■■
Critical Gossip of the Month.
WHAT DO YOU THINK?
24
26-30
31
THE
49—5*
62
THE PICTUR9GOE-R
APRIL 1922
/~^ eorge Walsh was born in New York in 1892. He wa.s, a law student when the
^-J lure of the movies drew him screenwards, but his film successes put all ideas
of the legal profession out of his head. He has achieved fame both on and off the
screen as an all-round athlete. His latest picture is the With Stanley in Africa serial.
APRIL 192?
THE- PICTURE-GO E-R
dN APRIL DIARY
VOL.3. NO. 16. APRIL, 1922
Editorial Officii:
93. l.onp Acre, London.
f«.rt «0fc ■WJaSWKli
WEDNESDAY, April 6th, 1888, was a muddy
day. and it was a very muddy little five-
year-old who triumphantly announced to his
astonished father that he had at last managed to
turn a double somersault backwards. I his was
Douglas Fairbanks' first star performance.
The new Winter Garden Theatre, in New York,
boasted, among other attractions it offered its
patrons on Monday, April 10, 1911, of a stately
beauty called Katherine MacDonald, who was the
tallest member of the cast. She had the smallest
role of them all. for part of " Fifine, in " La Belle
Paree, consisted of a bare six lines.
A bright idea took shape in a more than
usually bright brain on Monday, April 12th, 1920.
This was to allow Mr. A. N. S. Wersman, of
Pictures, to spend his last few years in peace and
quietness and let a younger fellow shoulder his
burdens. Accordingly, in the next issue of Pictures,
they " Let George Do It for the first time.
And now they can t stop him !
Jack Warren Kerrigan, and favourite Universal
player, found eighteen hero-worshipping maidens,
with Kodaks, waiting to get him outside the
•ates on Friday, April 16th, 1916. Jack lost his
in e completely, staggered, dodged, and finally
for his life.
Saturday. April 18th, 1908, found Ethel
Clayton, the Titian-haired leading lady of the
Shubert Theatre Stock Company, in a world-con-
quering mood. She was determined to be another
Sarah Bernhardt (she was barely eighteen), and she put so much
dash and fire into her role of " Ann Cruger, in " The Charity
Ball, that she received an ovation when the curtain fell.
On Thursday, April 22nd, 1916, Theda Bara, the Fox star,
received a letter of ardent devotion from a house-plumber of Atlanta,
S.A. This romantic knight of the spanner had crocheted a pair of
silk slippers with his own strong hands and enclosed them with his
missive. Two days later, the inspired one followed up his gift by a
long-distance telephone call. I heda had to use all her persuasive
powers to make him stay in Atlanta after that.
Tuesday, April 24th, 1906, was the second night of " York State
Folks, playing at the Albion Theatre, Pittsburgh, Pa. The sweet,
kindly old " Widow Miller of the company was one Josephine Crowell,
known to film fans nowadays as the Wickedest Woman in Pictures. She
says she found the worse she grew the bigger the " screw.
Rod La Roque, the popular young player who is such a good exponent
of light comedy roles, was a bold, bad villain on Monday, April 26th, 1921.
He was on tour in Thy Name Is Woman, and had been well hissed in New
York for his frightfulness. And Rodney liked it, and rewarded the hissers
with his cheeriest grin.
The stage version of that popular novel, "The Christian, was put on
in America on Friday, April 29th, 1904, with William Shakespeare Hart
as a sad-faced and resonant voiced "John Storm. Twelve years later, on
the same day. the same William announced his contemplated retirement
trom the screen. But he hasn t carried out his threat so far.
Registered for 7 rammiision
by Canadian Magazine post.
wmmmm
10
THE- PICTU RE-GOE-R
APRIL 1922
Qriffith-o
0 QSHES°>
and th(£
v as
Louise."
Lillian and Dorothy Gish are D. W. Griffith's special
proteges he discovered them when they were school-
girl friends of Mary Pickford. The sisters are seen
together in "Orphans of the Storm," the latest Griffith "special," the
making of which is described in this article.
Two gleaming swords flashed in the golden sunlight as two
nobles of the Court of Louis XVI. faced each other, the
while courtiers and ladies clustered round in excitement. At
the foot of the marble stairway they fenced, parrying and thrust-
ing with fierce intensity, yet consummate grace. At one side
a golden-haired country girl, beautiful as any of the towering
belles of the Court, without a suggestion of their artificiality,
watched the encounter with hope and anxiety staring from her
wide eyes.
We shall see-e-e-e who receives the final rites, M'sieu
Chevalier ! "
Tom hi '
A cry of approval goes up from the gaily - costumed throng.
A sea of white wigs nod in pantomimed conversation.
The two nobles, proud in their gay, brocaded coats, their
rich, silken breeches, their beribboned stockings, lunge at each
other with quickened ardour. Blades clashing, eyes flashing,
the men circle swiftly about, never looking anywhere but in each
other's eyes Again they have started the wary circling, again —
and the lithe Chevalier steps adroitly forward, feints, and with
the speed of a tiger runs his glittering sword into his opponent's
breast
A shriek of horror, a general rush towards the swooning victim,
,i fantastical hubbub
I In slender, panting Chevalier has grasped the gentle blonde
girl's hand and together they dash up the marble steps.
" All right, boys, " says a quiet, sonorous voice. " Let's do it
again Alter you've stuck him, Mr Sell ild kraut, 1 wish you'd
remember to wait until he drops his sword before escaping with
Miss Gish He might be fooling you and stab you in the back."
With a sott chuckle. 1> \Y Griffith resumed the camp
chair from which he had risen to deliver his criticism.
An energetic assistant herded the ladies and courtiers back
to the side lines, whence they were to rush once the duel
..RKIL IV^
IMfcr KIL I UKbldUl
■\<
again. The contestants leaned
heir swords and joked with one
] " Let me kill you this time,"
Jested the unfortunate victim of
acand the scenario.
I such colourful pattern is Orphans
Storm. Sentiment, thrills,
iliiny, romance and heroism — all
nhere, woven adeptly, slyly, into a
o^hy, effective entertainment; lus-
icjs meat, if ever there was any, for
hi movies. And clearly Griffith
dhed his task. In transposing the
■pus duel scene to the celluloid,
e.at and rocked with chuckles of
p obation, his sign; oddly enough,
f unplete satisfaction. During one
f .illian Gish's most tragic scenes,
t laughed happily throughout, a
yjpathetic laugh
ilt is a joy to do a thing that you
.pialmost certain will be popular,"
t Griffith to me " It was a joy,
I'ourse, to do Blossoms, but then
lijoy faded. Not so with Way Down
And this, I think, is a story of
qd power, and, in addition, con-
ably greater pictorial appeal."
was introduced to the latest of
tilth's discoveries, in this case a
v only of the screen, already
t-lighted luminary, Joseph Schild-
rn who plays the " Ghevalier."
' - strikingly handsome, with tragic
II. eyes, lustrous black hair, a
ive, aquiline nose, a quivering
»<th, and a lithe, straight both' of
Bgreat height. But he is very
n1 on persorial subjects.
What arc your ideas on love and
i;nage ? " I asked him over lunch,
e frowned.
lit does not concern the public
dther or not I am a married man
r. Mormon," said he. "It is not
br business whether I am middle-
gl or old, whether I am stupid or
illigent, I am a public, specimen
tt as an actor, and it is as an actor
it you have a right to consider
l If I am an artiste, all right. If
o bad. But what I cat ? What
■ink ? How much I drink ? On
h; I have nothing to say. The public
l jo inquisitive."
. liile we lunched I spied Morgan
Uace and the good-looking Creigh-
f Hale at a near-by table, with two
i [tiling young things whom I later
i id were cousins of the Gish sisters,
their first chance to be movie
this huge spectacle play.
one cousin, a striking beauty,
irk hair and chiselled profile,
'tided to me that extra-girling was
i I work.
>Vi' stand about so much," she
But I'm going to stick t
'1 Griffith any time he will give me
! chance And I'll have to finish
hool first, too. Tell the world
iderful, but awfully hard work."
looked hke a Gainsborough
tg come to life, the costume
Qg been an inspiration of the
'uraging, sympathetic Lillian's.
asked Lillian herself what chances
thought the beginner had She
thought for a lew moments, then spoko
haltingly, gently.
The beginner has a hard road to travel,"
she said slowly. " I told the girls what a
it was to be an extra. I warned them. Now,
if they are anxious to stay in the pictures, I
think they should turn out fairly well. They
are eager to .succeed, surely. And that,
coupled with beauty and grace, helps tre-
mendously."
Recalling that she had been selected in
a competition to discover the eight most
beautiful women of the screen, I mentioned
the fact to her.
Dropping her eyes, she smiled in em-
barrassment. " I never knew that I was
a beauty. But it is wonderful to be
appreciated. I don't think any one
realises how I love the letters sent me.
They mean so very much- - especially
now." Her voice softened. "Mother
is in the hospital. Dorothy- and I
have been terribly worried about
her, and these sweet letters and
tokens of admiration have just
kept me buoyed up sometimes
when everything was bluest."
Sweet, ethereal, dainty, this
emotional prima donna is lily-
like, fragrant, slender, retiring,
graceful — a far cry from many
of the screen heroines who become
varnished disappointments off the
screen. Her dreamy eyes, her tiny,
round mouth, her clear white skin,
all are symbolic of the girl her-
self—girl, I add, rather than
woman, though in experience she
is indeed no longer young
As we were chatting, Mr. Grif-
fith strolled over to explain the
action of the impending scene to
Lillian.
" And I wish you would dis-
arrange your hair, Miss Gish,"
concluded the gelatine genius,
after details had been covered.
With a smile, the " Annie Moore "
of the unforge table Way Down
East left us.
" This is the thing that the
whole world loves," said the
creator of " The Birth," as he
calls it. " Romance ! Excite-
ment, thrills, love, and climaxes — ■
not one, but many. When I
make a picture I am making it
for the world, not for myself
If I were making pictures for'
myself there would be more
' Blossoms' and fewer ' Dream
Streets,' but " — gradually a smile
appeared — " my business sense,
poor though it is, tells me that
' Dream Street ' is adjacent to
Easy Street.
" I must attune my work to
the masses as well as the c lasses
The man in the street must be
fascinated just as much as the
stockbroker and the highbrow,
so-called. And in Orphans, I
believe I have the universal
story, with its romance, its
comedy, its thrills, its heart
interest, and, do not forget, far
more opportunity for spreading
beautiful sets than ever I have hat
[Continue J on Page ;o.
Dorothy a%
" Louise
Gtrard."
12
THE: PIU rU^fcr^Ub^
ArKIL 151
Victor Seastrom as
" David Holm " in
" Thy Soul Shall
Bear Witness."
Victor
Seastrom as
he appears " off.
B
ecause I have
seen Thy
Soul Shall Bear
Witness [Death, the ^
Charioteer, was its ori- ™
ginal title), I had a great
wish to meet the man who,
in every sense of the word,
made it. So had you, I dare
say. Yet, although I have talked
with Victor Sjdstrom for some little
while, 1 have not realised my wish —
yet. Although I have done my best,
as you shall see.
Thai journalism in the shape of a
would-be interviewer should stand
outwardly calm and collected, but
inwardly quaking and impotent before
Genius is not surprising. When Genius
presents itself in the impressive shape
of Victor Sjdstrom, such a state of
affairs is inevitable. But that Genius
should prove to be more or less in
the same uncomfortable condition is
surprising. And disconcerting. Es-
pccinlly when lmtb know full well
that escape is, pro tern., impossible.
And more especially when there is a
witness present.
Preliminary greetings over, we sub-
sided opposite one another in terror-
Saga
He. is better known to British
picturegoers as "Victor Sea-
strom," the producer and star
of "Thy Soul Shall Bear Wit-
ness " and other epoch-making
Swedish pictures. Seastrom is
one of • the few men who are
working to lift the movies to
the highest plane of art.
stricken silence. Until the
witness referred to above,
• who must possess a very
kind heart, ordered tea. After
which my nervousness mani-
fested itself in an unusual
and fearsome !<■ quacitv. Victor
Sjdstrom 's utterances were
deceptively gentle and dis-
appointingly brief.
He was on holiday, he said.
I hoped he had had an en-
joyable time, both elsewhere
and in London, where he was
spending the last week of it.
" I have just come from the Vic-
toria and Albert Museum. Remark-
ably interesting there." This was
Sjdstrom 's sole tine to the fact that
his next production may probably
be a period play.
I discoursed on museums for some
moments. He was exceedingly mono-
syllabic m reply. Then theatres. I
knew he had been to as many as he
could possibly take in during his
brief stay.
I named a goodly number, and
enquired which he found most to his
taste.
" The Sign on the Door " came at
length. " Blood and Sand," too, lie
commended,
" Kinemas ? "
I have not been inside one Lon<;n
picture theatre."
But he has seen every film woh
seeing at home, in Stockholm.
" And the Scandinavian folk -
questioned. "Do they approve 't
American five-reelers and supe
And American stars ? And ot r
foreign productions ? "
He pondered for a little
before replying. "Oh, yes," with
perfectly disarming smile.
V'ii tor Sjdstrom is a very big m
Mentally and physically big ; «
the traditional Scandinavian cole
ing : fair, thai is to say, with sligl;
grevin« hair, and deep-set grey-b
eyes, which hold an intense earn*
ness and an infinite comprehension
He is an idealist, if strong .
exceedingly sensitive icatures tel
true tale Vet his work proclai
him unsparing and unafraid in
realism Behind that Ireniemlc
tnow of ins must be both fa
fancy, a (earless soul setting li
hardship and evil candidly before
■ ■
til. 1922
THE- PICTURE-GOE-R
13
f
n
[I .i singular!) clear vision where delineation
rarac tei is concerned. Sweden, I gathered,
seen two years ago the much-discussed
lift of Dr. Caligari, Deception, and the
of tlic German-made features. I >u t . like
n)(|t other countries, they like best sti
leir own folk and their own land.
You really were born in America, weren't
I " J asked, disturbing, I am afraid, an
tiding reverie.
• admitted as much. Also th.it h< had
(seen America since he was a very little
idly enough, though, his English, though
bctly fluent, has at times a noticeably
mean accent, and an occasional American
se.
enquired as to Victor Sjostrom's early
siences. An actor since quite an early
he has played in most of the classics of
own Scandinavia. Some of these are but
1 known over here. In Shakespeare, too,
ids appeared, notably as " Malvolio," in
velfth Night." He is married to Edith
stof, of the State Theatre. Stockholm,
is one of Sweden's foremost actresses,
is first film, The Black Mash, was an
inal circus story, and a romantic one,
arrived in Great Britain about 1914.^
I prefer a story specially written for the
clen," he declared.
n and off for the past ten years he has
bei closely associated with the Swedish
3 ^raph Company, working first as actor, then
usfrochicer, nowadays as both.
questioned as to his methods when filming.
The studios are at Stockholm," he said,
also remarked, " I never allow any visitors
we are working."
In that case," I replied, " there is no
icement for me to visit Stockholm."
Mch comment won me a smile.
Ijostrom works mainly by daylight, a far
rfc expensive process than that of artificial
lilting, because it necessitates much waiting
ujn his majesty King Sol. He does not
oafine himself to settled hours, save when a
fere crowd has been engaged.
lis scenarios he usually likes to prepare
t< himself. Thy Soul Shall Bear Witness he
el'se directly when I asked for the title of
h favourite production.
This," he said, " was a story which I
Bed. So much that the scenario took only
s>en days On others I have worked for weeks.
ten-thing in the novel was transferred to
screen play, but there were parts of the
fii that were not in the novel."
|Jr. Selma Lagerlof, who wrote it, professed
herself entirely satisfied with
its screen translation. A
rarity, for usually author
and producer do not set-
eye to eve.
An earlier production. The
Dawn of Lore, is another
Selma. Lagerlof novel,
adapted and produced
by Victor Sjostrom,
which was released in
Great Britain a couple of
yea is ago. It is a sylvan
story, in a quaint and dis-
tinctive setting, and Sjos-
trom played the principal
character, that of a rich
provincial farmer.
"Selma Lagerlof,", he
told me, "is as universally-
read and admired in Sweden
as your— who shall I say ? —
Shakespeare or Dickens. The
people love these stories,
both as novels and as film
plays."
He was extremely reticent
as to the splendid double-
exposure work and other
effects in Thy Soul Shall
Bear Witness, contenting
{Continued uti ptige jd.
Right :
In " A Man
There Was."
Above : As the Pawnbroker in " A
Lover in Pawn." Below :■ " Thy
Soul Shall Bear Witness."
14
THE PlCTUREGO&f?
APRIL
'
»
|TW5 ^^*%
2~Ae //on. Mrs. Norton , as
painted by G. F. Watts. Mrs.
Norton was the original oj
Meredith's " Diana
Our frivolous con-
tributor, who is en-
gaged in the pious
task of opening the
British Oyster, has
had respectability
thrust upon him.
We sent him to
watch the filming
of Denison Cliffs
" Diana of the Cross-
ways " production,
and George Mere-
dith, combined with
the ultra-respectable
atmosphere of Vic-
torian Society, did
the rest.
IANA-
5/^CROSsw/)ys,,
h'av Comploi; as " /•
II V/i .. /(A," a remml
make-up in t)
Watts' picture.
Diana "
is accused
hi i husban
{Fay Compton)
(./ infideli
d ( /. It. Tozer).
T'hc life of a journalist is just one disappointment a t
another.
" Which studio are you writing up this month ? " asf
the Editor the other clay.
" If you please," I answered, " I should like to wah
them make a picture entitled Trapped by the Morm\
I've heard "
" I, too, have heard," interrupted the Editor. " Sift
the publication of your harem article, I have heard fit
about fifty people who advised me to keep an eye i
you. Three sent tracts. Therefore, I cannot let a
see the Mormons."
" Oh, let me see the Mormons," I pleaded.
" No Mormons," said the Editor, firmly. " Denis
Clift is filming Diana of the Crossways ; go and wal
him to-morrow. Have you read the novel ? "
" X-no ! I'd much rather see the Mor "
" Read it. And let's have a nice, respectable Yictoii
article. Good morning."
So I went to a man who had visited the Ideal Stms
and said :
" 1 want to go to Elstree. What's the best way j
There's a train leaves St. Pancras at 8.35 an'
said the man-who-had-been, " but you'd net
catcli that."
I assented.
The next train is 10.45. "
Rattier early. What's next ? "
' Twelve -something ; but if you go by t;
you'll miss the studio lunch."
I rang up the Editor.
" Listen," I told him. " The topic of i
day is Mormonism. Don't you think a ll
bright article describing the interior 01
Mormon temple would "
" Go to Elstree," said the Editor.
I caught the 10.45 from St. Panel-
APRIL 1922
THE- PlCTUf2EGOE-f5
15
Some people
wou Id boast
about an
achievement of
tins description.
offer it as a simple
statement of fai I
With the exception of
the engine-driver,
stoker and guard, L
seemed to be the
o n 1 \ person who
wanted to go to Eis-
tree, and, really, I
didn't.
When I got to the
Ideal Studios, 1 found
Denison (lift directing
a dinner-table scene
with Fay Compton,
Fisher White, J. R.
Tozer, Henry Victor,
and Ivo Dawson. Fay
Compton, looking very lovely in a
black wig, sat at the head of the
table, eating an apple and cracking
jokes " between shots."
" Save some of that apple, Miss
Compton," warned Denison Gift.
" We'll take the ' announcement
scene next."
Touching that apple, I must say
that 1 sympathised with Fay Comp-
ton. 1 think she was hungry, but she
never got a fair chance. Every time
she cut off a piece of fruit, Denison
Clift came in with his warning cry :
" Don't eat all that apple. It's got
to last through several shots."
Presentlv Denison Clift asked Fay
Compton to announce the good news
to Augustus.
" Who is Augustus ? " Miss Comp-
ton wanted to know.
" Your husband," said the pro-
ducer.
Denison Clift
talised by George Meredith in his novel
" My husband ! How lovely !
Fancy his name being Augustus
But I shall laugh when I say Augustus,
1 know I shall."
Then Fay told the good news to
Augustus, and Augustus (JR. Tozer)
got up and made a nice little speech
which Denison Clift cut short in the
middle by saying : " That'll do. Cut
out the rest. Sit down."
Denison Clift is a very youthful-
looking young man for a producer,
but he has some very excellent pic-
tures to his credit - Demos, The Dia-
mond Secklace, Woman of No Im-
portance, Soma, The Old Wives' Tale,
and Benilev's Conscience.
He was a scenario-writer before he
took to production, and people who
know, say that his scripts are just
about as perfect as scripts can be.
On the floor his chief assets are a
disarming smile and a powerful voi^e.
The former works
overtime, the latter
is rarely raii
above a coaxing
whisper, for Clift is one
of the quietest pro
ducers 1 have evei
watched.
ne close-ups of the
various .liners followed,
and then we adjourned,
for lunch. < )n our v. .i \
through to luncheon,
Denison Clift took me
into the studio theatre
to see I i print of
some of the scenes in
Diana of the Crossways.
Most of these were ex-
teriors filmed at Burn-
ham I .ok) they
comprised some of the
loveliest woodland
scenes ever shown on a screen.
And so to lunch. With a son of
George Meredith, a brother of Israel
Zangwill, and a son of " John Strange
Winter " seated with us at table, you
may suppose that there was a full
literary flavour to our conversation.
Wrong. A discussion of the vital
question : " How many cups of tea
can a man drink in a day without
hurting his constitution ? " lasted us
until the sweets. The rest of the
luncheon-hour was spcnl in tossing
pennies to see who should pay for the
coffee. As a faithful student of life
behind the screen, I set down these
things more in sorrow than in anger.
After lunch I sat in Denison Gift's
office and talked about Duma.
" Fay Compton was the only actress
I could see for the part," he told me.
It fits her like a glove. You will see,
l>".irs an extraordinary
" \Continued t » /./.
too, th
in '
t she
Unti;
THE- PlCTUra&GOE-R
APRIL 1922
■•
BEHIND *• KINEMA SCENES
\f Fred Le Roy Granville, Peggy
Hy land's director - husband,
selecting types from a crowd
at the office.
Phe world knows it as Wardour Street.
i It is really Flicker Alley -the Mecca of the Film
Fan.
It runs through the heart of Soho.
It runs through the heart of the movie world.
It is the main artery of the kinema trade.
Its shop windows are galleries of photographs and
posters and synopses.
Its shelves arc loaded with " tins " of film ready to be
scattered broadcast among the 4000 kinemas of Britain.
That is Wardour Street as it appears to the casual visitor.
But those who know their Flicker Alley pass all these
things by and march right on till they come
to an inconspicuous doorway just opposite
the imposing building devoted to Famous-
Players- Lasky.
By the side of this doorway
will find the name Sidney j
the name which for you may open the
magic doorway that lies behind the
kinema scenes the magic doorway
that takes you away from the
obvious world of photographs and
posters, and leads you to the human
side of filmland which is hidden
from the public eve.
1 [ere dwells the Agent.
The work of a Kinema Agency is described in the
entertainiu. arti le below, which deals with a
little-known ph.ise of life behind the screen.
Follow me through this doorway and team
something of the kinema behind the scenes.
We come first of all to an outer apai tment —
a waiting-room crowded with people of all
ages, sizes, and degrees of beauty.
The kinema is a democratic affair.
It is all things to all men — and all women.
In type it would be hard to find two people
alike, yet all have much .in common.
They are the rank and file of the kinema
world .
They are waiting for " crowd work."
And they are hoping that some day a small
part may come along to lift them from pre-
carious obscurity to fame and fortune — from
the outer waiting-room to one of those sacred inner
apartments whose doors to them are sternly closed ; for,
in the Agency world, at least, the stars have no dealings
with the supers.
The hope of to-morrow — that is their common bond.
It is written on their faces.
Expectancy !
It colours their hum of conversation.
Listen !
" Did you hear about ? . . . Yes, it's a chance. . . .
It means going to Holland, but . . . It's a good part,
old man. ... It would just suit you."
They exist in to-day.
They live in to-morrow.
And the gamble which they take
with life makes them friendly.
They spread news of new pro-
ductions with open-handed, large-
hearted generosity
[Continued on page jS,
'APRIL 1922
THE PICTUREGO&R
17
If you possessed the power and the indis-
cretion to enable you to peep through the
keyhole of the world, you would see a lot
and learn a lot. The modern animated
magazine gives you this power, tempered
with discretion, as this entertaining
article proves.
A dainty
negligee.
strenuous exhibition the cameras
are next switched on to the delight-
ful toe dances of a queen of the
ballet who has entertained kings.
The world's novelties are eagerly
sought for by the editors of animated
screen magazines. For in this
fashion the traditional instinct of
curiosity that inspired our ancestors
to gaze at the circus fat lady and
the freaks of the penny gaff is
catered for.
The ingenious method of cutting
down hosiery bills by having stock-
ings painted on bare legs by artists
was recently 'shown to the world
on the kinema screen. Beautifully
enamelled portraits on the finger
nails and the designing of brilliantly
plumaged birds on the bare backs of
society beauties, are other " smart set "
crazes that the interest film reflected.
T
Evelyn Lave in her garden.
he learned astronomers who evolve
giant mirrors with which to
reflect the canals of Mars or the mys-
tery spots on the moon, figure more
in the limelight than the modest film
camera-man. Yet the art of turning
a barrage of cameras on to the world's
happenings involves subtle organisa-
tion that would probably drive to
despair the spectacled professors who
seek to probe the secrets of more
distant planets.
Behind the " Interest " film, that
enables millions to peer through the
keyhole of the world and view the
beauties of nature in distant climes,
the discoveries of science, and human
sidelights on celebrities, there exists
an army of specially trained camera
operators, film editors and photo-
graphic experts.
Come to a studio devoted to the
production of short interest pictures,
such as the " Pathe Pictorial."
Round the Town,'' or " Eve's Film
Review." There you will be con-
fronted with an amazing succession of
novelties.
K^y|\ole
P Russell MaJlinson
Photographs by courtesy of Pathe Frires, IJd.
In one corner a West End head-
waiter dexterously folds serviettes into
artistic patterns before the lens of the
camera. A few minutes later a light-
ning dress - designer takes his place,
who. with the aid of pretty mannequins,
proceeds to evolve in forty seconds
fashionable dresses from lengths of
cloth and a few pins.
Famous celebrities, whose names are
household words, stand about the
studio whilst arc lamps and lenses are
turned on to them to secure interesting
sidelights on their personalities. A
world's champion boxer at one end of
the brilliantly lighted room is demon-
strating a knock-out, and from this
Peggy O'Neill of " Paddy-the-Next-Best-
Thing " fame.
But it must not be imagined that
the film producer only asks you to
gaze through his magic keyhole of
the universe to view the novelties
of life.
He mirrors realities with clever
touches that in studios they term
presentation.
Such excerpts from real life he
secures from all over the world, and
he collects his animated " copy "
with the assistance of aeroplanes,
motor boats, racing cars, slow-motion
cameras, and the all-important " Sun-
light " arc lamps that literally repre-
sent the brightest jewels in the film
editor's crown of cute ideas.
These powerful lights, that produce
beams of several million candle power,
THE- PICTUREGOE-R
APRIL 192
lilnr that tor the
first time presented
striking camera -
studies of the heart
of a great city at
midnight.
The Pathe Pic-
torial flooded thi
familiar thorough-
fares, monuments
and the- night lif'
of the metropolis
with arc lamps re-
cently. These were
are turned on
events that occur
at night or in
darkened build-
ings.
They chase
stage " stars "
to the hotels
and dance clubs
after the theatre
curtains have de-
scended, and secure
film pictures of these
artistes dancing and
revelling. And, gene
rally on such occasions,
fare is provided that is more
entertaining than stage attrac-
tions, and the element of novelty is
always there. When the Sunlight arcs
recently flooded the roof garden of a West
End hotel at two o'clock in the morning,
Nelson Keys was filmed by the cameras
indulging in a ludicrous, spontaneous
dance for the benefit of the cameras. At
another restaurant, the fun of Leslie Henson,
even in private life, was revealed when this
droll comedian gave a mock saxaphone solo
with the aid of an empty champagne bottle.
And the spectacle of Frank Moran, the famous
American heavy-weight boxer , dressed as Henry
the Eighth at an Albert Hall ball, demonstrating
his deadly " Mary Ann " punch on the bearded
chin of Sir Augustus John, was another example
of amusing foolery that the cameras and the
arc lamps secured. It is the human touch in
these personal sidelights which draws aside the
curtain that, in the past, has largely hidden the
real personalities of famous folk, that pleases the
kinema public. The film camera now penetrates
into their houses and gardens, and reveals their
l«obbie3, their domestic tastes, and shows you
their children and friends. No longer are public
favourites just figure-heads. The screen has
brought a greater intimacy into their rela-
tions with the masses.
The brush of the painter has recorded with
picturesque appeal Ixmdon's charm both
by day and night. But it was the interest
\ elite Wallace at home.
Above : A new careei
W for women -hand-paintca
hats.
Left: The latest craze—
designing brilliantly plum-
aged birds on the bare backs
of Society beauties.
rumbled through the deserted streets
on power lorries containing engines taken
from " Whippet " tanks to supply the
lighting power that pierced the veil of
darkness.
In the concentrated glare of the " Sun-
lights," London became a ghost city,
peopled with shadows that moved eerily
beneath the brilliant beams of the arc
lamps. Buildings stood out like towering
erections of crystal decorated by bizarre
scrolls as light and shadow alternately en-
veloped them.
Life's derelicts were caught by the cameras
as they slouched along the river embankment
Night-workers in the markets, the muffled
forms of the police speeding along the Thames
n their motor-boats, and the nightly hum
of activity in Fleet Street that never sleeps
combined to produce this novel reflection
of shadowed London.
For the fair sex, much of the interest
provided for them when they peep through
the world's keyhole is the screen reflections
of fashibns. Mannequins are shown flicker-
ing across the silver sheet in the latest
creations of Europe's dress-designing kings
Resultantly, the time that it previously
took for new ideas in dress to trickle
through to the I.x>ndon shops, and even-
tually to the suburbs and smaller towns
has been greatly reduced. The film
PRIL 1922
THE PICTU R&GOE-R
19
fiannequins who cater for the feminine
reds of the million enable any girl
'■ho goes to the pictures to keep
Wast of the times where new ideas
h dress are concerned.
Fashions in hats, hand-bags, sun-
hades, footwear, and other feminine
anities are demonstrated on the
•lms by famous actresses. The time
!iay yet arrive when women will
escend on the kinemas armed with
otebooks in which to record the
aformation they glean from these
nimated fashions.
By an ingenious combination of
Land and mechanical work, sartorial
[reations are also depicted in their
(atural colours, so that the blonde
r brunette can decide from the
creen the styles that will suit
ler especial colouring.
These tints are not generally
pbtained by the camera. The
picture, after it is developed, is
I j>laced in the hands of an artist
ivho colours it with personal
abour until the correct effect is
iibtained. Some idea of the work
jhat this entails can be gauged
rora the fact that in one film
oi,ij6o separate pictures had
priginally to be painted in six
Colours. When the final colours
ire selected, delicate stencils
lire cut in such a manner that
vhen placed over the film and
)assed through a machine, colour-
ng dyes are pressed through the
/arying-shaped apertures, arid
lirected on to the correct por-
10ns of the pictures. 'Certain
tencils guide flesh-tints on to
aces, others direct the colours
pn to certain portions of the
Iresses, and after many weeks of
vork the whole is grafted into
in "interest " film.
The famous Mrs. Beeton prob-
tbly little dreamed that her
genius as an inspirer of culinary
irt would one day be presented
n animated form on the screen.
Vet Beeton art in animation is now
:o be seen in the picture theatres, for
he era of the film cookery book is
it hand.
Experienced cooks now demon-
strate before the cameras the most
jconomical methods of preparing meals
and dainties for the family table.
Appetising eclairs flicker into com-
Ipletion from a shapeless mass of in-
gredients, and puddings magically
appear beneath the skilled fingers of
white-coated chefs borrowed from the
'kitchens of leading hotels.
The animated cartoon owes its
existence to the interest picture.
There are many forms of this amusing
type of film entertainment, but the
latest idea combines human figures
and objects with ludicrous figures
produced by the pencil of the artist.
A man is shown drawing humorous
little figures with a few strokes of his
pen, and sly but very human dogs
and other animals. These creations
Jof his brain flicker into life and com-
mence to torment him by dragging away
his ink-pot or ruffling his hair. They
get into all manner of mischief, and
blend with actors and actresses of flesh
and blood in an ingenious and puzzling
way.
It is trickery on the part of the pro-
ducer, of course ; but very laborious
foolery. To photograph a scene that
remains for less than ten minutes on
the screen necessitates a process ex-
tending over a number of weeks. There
are over two thousand separate sketches
in everv three hundrcd-and-fifty feet of
film.
For the sportsman the " keyhole of
the world " provides perennial interest.
He is shown aspects of outdoor games
that are entirely new to him. The
estimated at the amazing total ol
fifteen thousand. The intricacies
of working out the rebate allowed
for Mr. Alligator's number o'.
children would surely drive the
unfortunate Income-Tax official to
early lunacy.
The effect of music on animals
is rellei ted on the silver sheet.
The stolid indifference of the ele-
phant to the strains of jazz, the
grimaces of a monkey when he
is entertained by a sentimental
ballad, and the ferocious dis-
^_ A fashion footnote.
a marionette show is worked.
slow-motion camera
will make Hitch, the ^f'
famous cricketer, fljl
look like a Russian w'
dancer, as his move-
ments are retarded by the ultra-
rapid apparatus, and he floats
over the bowling crease at a speed
ten times less than his normal
movements. The correct swinging
of golf clubs, the secrets of Tilden's
tremendous drives and high-speed
returns on the tennis courts, and
power behind boxers' knock-outs
are served up for the sporting pic-
ture-theatre patron with en-
lightening ingenuity.
The nature-lover obtains
sidelights of wild life that
his school books never re-
vealed to him.
He will' see a film of
a patriarchal alligator
who can boast of four
hundred and fifty years
of life, and his family is
■.....-—
I
\r
pleasure of the
zebra, ostrich and
giraffe when their
ear for music was
tested, is presented
with humorous appeal.
Filming scenes from
popular plays and variety
entertainments is a
potted form of amuse-
ment that constitutes one
of the latest additions to
the " interest " film.
Sarah Bernhardt was
screened in the final act
of Daniel for this pur-
pose", and she expressed
the opinion that the
time would come when
film pictures of rehearsals
would always be taken
of new plays. For the
eye of the lens so
relentlessly showed up
errors in staging,
and mistakes on
Billy Merson the part of the
at play. artistes.
20
THE- PICTUREGOE-f?
APRIL 19;
This year the youth of the country
was able to see on the screen the
funniest portions of London's panto-
i 'limes and the thrills of the big
circuses.
In days of youth most of us ex-
pressed a desire to " see the wheels
go round " : the mechanical treat on
such occasions being represented by
the family watch of a patience-tried
parent Passing years develop rather
than lessen this inherent curiosity to
learn how things are done, how the
scientific marvels of the world are
carried out And because this is an
age of hustif and, to a large extent,
surface thought, it is the ocular
demonstration of the film picture to
which the majority of people turn to
satisfy their inquisitiveness.
Recently an interest film took the
picturegoer behind the scenes of a
marionette show. The lens of the
camera revealed subtle hands oper-
ating the myriad strings that produce
in coloured dolls life-like movements
of droll realism.
The ingenious bracket-shaped devices
that assist in controlling the mutes
by speedy manipulation of the fingers
were shown.
The secrets of conjurers are probed
with the slow-motion camera that
shows exactly how rabbits, that appear
to vanish into thin air, in reality pass
into a convenient pocket- in the per-
former's coat, and the art of palming
coins and cards is analysed by the
lens.
And the romance that lies behind
the intricate organisation that enables
commodities .ranging from soap to
sausages to be produced on the mass-
production scale, is caught by the
cameras that penetrate into the fac-
tories of the world.
Had Caxton or Stevenson known
the film picture, the fame that their
inventions brought would certainly
have been speeded up. For the screen
is now a valuable asset to modern
inventors. Through the medium of
the film they can place the fruits of
their labours before the world far
more effectively than was pos-
r^^ sible in the past.
The world is interested
in novel aspects of in-
ventive genius ; and
as clever discoveries
make attractive
subjects for in-
terest films, the
inventor is
provided with
helpful pub-
licity that his
forerunners
would have
prized
beyond
measure.
The screen shows helicopters with
whirling propellers forcing themselves
skyward without the use of lifting-
planes and recording a milestone in the
progress of aviation research. Wireless
wonders fine"! a reflection on the sflvei
sheet, for pictures can often tell n
scientific story so that the layman car
understand it without being bewildered, i
by statistics or confusing technicalities
And so the world learns whilst i'
is being interested.
More and more the interest film is
having its influence on the everyday
life of picture-theatre patrons. For
women it demonstrates new careers,
such as goat-farming, the painting of j 1
picturesque patterns on ladies' hats,
and even the unusual occupation of!
bridge-building by members of the
fair sex. Clad in businesslike overalls,'
a girl was recently shown on the screen'
busying herself with a spanner on the
dizzy heights of the girders that con-
stituted a lofty bridge in the making.
Humour finds a place in the screen
production of a clever film editor
who seeks to hold up a mirror to the
world's happenings. When the in-|
fluenza germ was particularly rampant
a short time ago, it was an interest
film that provided an amusing topical!
skit on that humourless business olj-
battling with a cold in the head.
The Ultra-Rapid camera was turnerL
on the victim of an influenza cold
Rut instead of a somewhat depressing
screen analysis of this prevalent
malady, a picture of ludicrous amuse
ment resulted. For a sneeze slower!
down ten times shows grimaces o
extreme absurdity.
Dorothy
Dickson
and
Gregory
Stroud it
a demon
stratiort o
exhibition
ballroom
dancing.
!PRIL 1922
THE PICTUR&GO&R
21
mmmtm
star in her luxurious
This is how Kenelm Foss amuses himself " between sets "
when making a picture — — on April the First!
A charming snapshot of a mi
boudoir. " Don't stop my half a pint of beer," pleads
Kathleen Vaughan.
22
THE PICTUR&GO&R
APRIL 19:
Agnes .-lyres' chance came ujith
" Forbidden Fruit."
The Kid " madi
JacJtii Coogan the
world widt favourift
he is to-day.
Short Cuts
To Success
Some movie players who have discovered
a rapid roadway *o the summit of Mount
Popularity.
Periodically, producers declare that the
Star System must go. " Down with
the stars!" they cry; "bring out the great
author. It is the day now of the eminent
author ; the feature story ; and the all-star
cast." But the public isn't listening.
For the picturegoer loves a personality,
familiar face on the screen. The ear-
liest movie stars were loved for them-
selves alone, not for the plays they
acted, nor because of the authors of
their stones. Mary Pickford, for
instance, became the " World's Sweet-
heart " simply on account of her
winsome self. Her stories — with a
few exceptions, such as Stella Maris
and The Little American are all so
much of a muchness " that they
might easily have been based on a
standard formula. These do not
iraw the people in their crowds to
t.ie kinemas. It is just the little star
i vmkling on the silver-sheet that
hi " line-up " is for.
But, although the star makes the
nk '•me, it often happens that the
p.'ct re makes the star. Many world-
iaii'o. ^ favourites of the screen owe
tin i. present-day stardom to their
initial success in a particular pro-
dut ti >vi Their rise to fame has been
meteo/ic
Jackie Coogan, in The Kid, took
the shone, t cut to fame on record.
One picture alone — and his first pic-
ture at that - transformed him from
an unknown boy into the most popu-
lar child-actor the world has ever
known. His talents are undisputed ;
but it was the world-wide circulation
of The Kid that ga\
him immediate lam.
Mad he appeare
first in less succes!
ful pictures, his pn
gress to the top <
the popularity po
would have lx*t
very much slow<
In contrast to Jack
Coogan, take p
case of Chapli!
other d i s c o v er \
Edna Purvianci
She has support
the master comedian in all 1.
pictures for over six years, bi
recognition of her talents h;
only just been made. Now >|
is tn be starred in a series i
feature-dramas.
To return to those playei
ho have funnel shorter cm
o stardom Agnes Ayri
flashed into the firmamei
because of her excel lei
work in Forbidden Frui
directed by Cecil B. D
Mille. She is now an esial
lished star in the Famoui
Lasky system, but ha
been seen in pictures !•
senile time betore hi
special entry."
Above : Harry Myers,
wh
won fi/m immortality as "
!),
Yankee."
Left : 1 loyd Hughes
The Chorus Girl's Kv
mance gaveCarcth Hughe
his chance. On aecoun
of his lovable character
portrayal in this film he was-the selection for the nattwl
role in Barnes Sentimental Tommy, which film, beside:
fixing Gareth's place among the stars, also carried Maj
McAvoy to the heights, although she was previous!)
little known to the picturegoer.
Betty Blythe and Kathcrine MacDonald are
two recent arrivals
in stardom who will
hold their own
in emotional
"
hrn Slroiieirn found fan
as ado) author direct,
with " lilind Husbands.
I' lu Ctrl from Outside
ga< i Cullcii I andis his
first big chance, and he
made the most oj it.
■ I
PRIL 1922
TH E- PICTUREGOE-R
23
fles. Betty's remarkable achievement as the " Queen
Sheba " is all the more wonderful in view of the
ct that she is a comparative newcomer to films
nly three years ago, on the closing down of a touring
roduction in which she played a small part, she was
randed penniless in New York. Day after day she
alked up and down Broadway vainly seeking engage-
tent with various agents and managers. When almost
desperation, one morning she chanced to meet an old
ieatrical friend who told her of a vacancy in a crowd
ene at one of the studios. Losing no time, she applied
r the post and was engaged. From this time onwards,
aying " extras " and then small parts was Betty's
reen career. Her selection for the part of Sheba's
ueen savours of the romance of a " best-seller."
Gordon Edwards, who directed '/'//<' Queen of Sheba,
id been searching for weeks for a suitable emotional
tress to take the name part. After having inter-
ewed over eight hundred candidates, he was still dis-
tisfied. During a visit to a Los Angeles kinema he
.anced to see Betty Blythe in a small role. Quickly
alising that here was the personality he was seek-
g, the director set to work to rind Betty. This
as nq easy matter, as she had left the com-
iny who was responsible for the picture he
id seen. At length, hearing that she was
New York, Mr. Edwards immediately
avelled East and saw the prospective
gyptian Queen. And a great new star
as born in the screenic firmament !
Helen Chadwick, a. new star in Gold-
yn pictures, had been closely watched
,' picture fans on account of her suc-
•ssful work in films with Richard Dix.
oldwyn, however, had been the
•mest adherent to the " 192 1 author
costing " ; and Helen waited long
r her stardom. The same is true also
Richard Dix and Cullen Landis. The
tier, who was" at one time a studio
■operty boy, received his first big chance
I The Girl From Outside.
; Playing only in pictures of one type does
|>t necessarily lead to stardom, though the old
vourites in the movie Milky Way retain their
ecial pinnacles through their close adhesion to
e kind of role that brought them fame. Among
ese latter, of course, are the classical examples -
ary Pickford, the Talmadge and the Gish Sisters,
uarlic Chaplin, and Douglas Fairbanks, who con-
uie to hold the public in the hollows of their
nds and will do so !
Of those to whom en-
<• change of type of
^
1 eft . Kiul ■!/>!, Valen-
tino in "The Four
Horsemen," the film
thai made turn famous
Night Hetty lilythe,
iclio has achieved
world-wide popularity
through " Ike Queen
o* Sheba."
Above : Betty Compson in " I he
Miracle Man," her " short eat " to stardom.
Left : Johnny Walker who owes his star-
dom to " Over the Hilt."
role lias brought to star-light are
Betty Compson and Gloria Swanson.
Both of these former " water babies "
in Mack Sennett slapstick were plunged
into drama through one single picture,
Betty Compson 's, of course,
being The Mirach Man.
Over the Hill gave Johnny
Walker his chance ; Madge
Bellamy came to films direct
from the New York stage, and
was starred in her first pic-
ture ; while Lloyd Hughes,
once a butchers boy in Los
Angeles, and later an " extra "
111 the studios, got his big
opportunity in Below the Sur-
face, with Unban Bosworth.
Rudolph Valentino played
many minor parts before the
scenarist of The Four Horse-
men selected him to play
Julio" in Metros spectacu-
lar production. But it was the
Four Horsemen that made him
a star.
Although Eric von Stroheim
found a short cut to sun ess
with Blind Husbands, his case
differs from the instances cited
above. It was Blind Husbands
that made Stroheim, but Stro^
heim made Blind Husbands.
Before Universal gave him a
chance to show the film world
what he could do. Stroheim
was known as a capable
character - actor, but no one
was inclined to make him a
star, so Stroheim the author
collaborated with Stroheim the
producer to introduce a new
movie star named Stroheim ;
and the rest is kinema history.
24
THE- PI CTU '«" E GOtR
APRIL 1922
s ' ■■:£;■
JDlue
Monte Blue is no matinee-idol type
of leading man. He's a worker first
and last, and the strength of his character
matches his physique. Monte is seen in
two current releases, "Peacock Alley,"
and •' Orphans of the Storm."
V
Danton,"
in " Orphans of Die
Storm."
If anybody wants to
design a coat - of - arms
for Monte Blue, I can give
them a good idea to start with —
an idea that is a key to his whole
character and career. Give him a
shovel, rampant, on a disembodied
smile that stands for wholesomeness
and a good disposition. For he has
dug his way into pictures and clear
up through a mass of mob scenes and
small parts till he's pretty close to
stardom, according to popular report,
and has grinned cheerfully all the
way.
He didn't even begin with mob
scenes, either. He started in parts
that could be compared to " crash
without " and " thunder in the dis-
tance,'' if we were talking about the
speaking stage. He began by digging
graves that were to be used in an old
Griffith production of Enoch Arden,
and was mighty thankful for that
chance to dig himself into the movies.
Hut you'd better hear him tell about
it himself, as he told me the other
day in his dressing-room out at the
Lasky studio.
When 1 came in, he greeted me by
my first name. Now, a great many
individuals who are approaching star-
dom wax suddenly diplomatic — pos-
sibly with a wary eye on future " I-
knew-him-when " interviews. They
get so diplomatic that they won't tell
you their real names, where they
were born, or anything else really
interesting But not so with Monte ;
he poured out a story of the inside
workings of his past life which will
gladden the hearts of some several
thousand youths who want to go
into pictures but don't
know where to start.
George " of " Pic-
tures " has nothing on
Monte Blue when it
comes to advice about
how to do it.
" Well, you see, I
came to Los An-
geles right off a
Montana cattle
ranch. I walked
right in, and then,
though 1 didn't
walk right out
again, I sure kept
on walking. For
days and days I
tramped the streets
looking for some kind of
work. Then one day
I met a man who was
leaning up against a tele-
graph post watching the world go by,
and he asked why I didn't go out to
Hollywood and try to get into pic-
tures. I went — and began to dig."
That's when he wielded a shovel
off -screen in Enoch Arden. That
shovel kept the wolf from the door.
Then he got another good role — he
furnished the power that moved the
wings of a large and obstreperous
windmill. He had some more experi-
ence as one of the great unknowns
when he led a double life during these
ie<*T\y days of his career. He was a
stunt man, " doubling " for De Wolf
Hopper and others, for the first two
of his five years of screen experience.
And, though he actually appeared on
the screen in Intolerance, he had to use
a telescope to distinguish himself in
any of the hundred or so scenes in
which he appeared. He also doubled
for Sir Herbert Tree in Macbeth,
appearing in all the duel scenes.
Presently he was graduated to
regular mob scenes and played in
them till one day a director found
fault with a mob for being so well fed
and prosperous looking. He wanted
somebody to show the crowd how to
look hungry. Monte could do that
to the queen's taste, and did it so
well that the director put him on a
salary of ten dollars a week, and the
mob lost its moving spirit.
After that he was a heavy- He
" heavied " all over the place, with
Doug. Fairbanks and Mary Pickford,.
particularly
in Joanna En -
lists. He was still
digging in hard,
though his own
efforts had sup-
planted the shovel
of his early days,
and doing it to
such good effect
that Cecil B. De
Mille sent for him
to play a smal
part in You Can't
Have Everything.
' ' I certainly
knew I couldn't,"
Monte told me,
with that whole-
some, likeable
grin of his, as
he smeared a
lot of pale-pink stuff
over his almost swarthy
face. " But playing in a De Mille
production looked to me like having
a good deal, even though the part
was a small one."
I know more than one young man
now fighting for a hold on the ladder
to fame who'd scorn a small part.
But, according to Monte, getting con-
ceited is the rock of defeat in many
a starward course.
I studied him as he sat there at the
dressing-table, talking and stopping
now and again when his make-up
reached a precarious stage. Not that
he bothered a great deal with it : his
eyes are dark brown, with a prairie
glint, so he did not use much of that
gummy black stuff, whatever it is,
and his hair is dark and thick and
satiny, but he scorned the slicking
down with brilliantine advocated by
those whom he disgustedly termed
" varnished-haired heroes." In fact,
Monte scorns most of life's little affec-
tations. I couldn't help being struck
by his wholesomeness ; it wraps him
around like a blanket, and, when you
talk to him, it envelops you, too.
He got his first good chance to be
an everyday, wholesome sort of hero
in Private Pettigrew' s Girl, with Ethel
Clayton. Then he found that he could
afford to saunter along with his shovel
over his shoulder, for those years of
good work had landed him where he
wanted to be. " Love," in Every-
woman, was one of the roles that his
APRIL 1922
THE- PI CTU REGOE-R
25
conscientious dig&ing-in landed him , hut Monte wasn't
satisfied even with that.
Monte next essayed a variety of roles, appearing in Told
in ill' Hills, In Missouri, The Thirteenth Commandment,
Too Much Johnson. Something to Think About, and The
Fighting Schoolmaster, His latest pictures are Peacock
llley, Orphans of the Storm, and I In Kentuckians.
Like many clever character-actors, Monte Blue has to
pay the price of his cleverness— he is so good in character
parts that producers insist on keeping him in character
roles. Still. Monte doesn't mind very much. There is
nothing of the matinee idol, sleek-hair type of actor about
him. He is six feet two inches high, and weighs a hundred-
and eighty-five pounds, and his character is in keeping
with his appearance.
" I enjoyed my role in Something to Think About as
much as any part I have played," observed Monte Blue.
" It was a difficult part, and the more difficult a part is,
the more it pleases me. 1 believed in the character I had to
portray, and I had to watch my interpretation very closely
because I wanted it to be just right.
" I like out-of doors parts, too. The big, lovable out-
of-door mind appeals to me most of all. It's the outdoor
type that I want to create for the screen.''
We talked of marriage and the movie profession.
"One time,'' said Monte, "I thought that when I
married I should leave the screen. I wanted to be a
su< cessful husband and a successful screen star, and I
thought that one couldn't be both. But since I've taken
a wife unto myself, I've revised my views."
" Adventures ? Well. 1 had a
pretty exciting experience when play-
ing in Told in the Hills. 1 was leading
the Indians in a wild charge down
the hillside, when I met a wide ditch
right in my path. There was no time
to pull up the horse — I was riding
him with a rope bridle and no saddle —
so I just hung on to his mane and let
him try the jump. He missed, throwing
me about forty feet, and I got up a
pretty-looking object, with blood
streaming from my mouth and ears.
But I didn't intend letting those
Indians see me fall down on the job,
so 1 collared the horse again, and
rode him off.
I was too shaken up to realise
just what had happened to me, but
when I went to take my shoes oft
after the ride, I doubled right up
and couldn't straighten out again.
They found when they examined me
that I had broken three ribs.
Still, I was used to hard knocks
from my old ' doubling ' days, and
I soon got right again. When a
man's fit he can stand a wonderful
lot of knocking about, and I've always
prided myself on my physical fitness."
Here arc some further samples of
Monte Blue's philosophy :
You can't ever make a star by
just using the bill-boards ; not all
the advertising in the world will do
it," he told me emphatically. " It's
the tans that make the stars who
stiy, every time. They know sin-
cerity on the screen when they see
it, and they know when a fellow's
doing his best. I'm afraid oi the
fans — they keep me digging, I can
tell you
I want to give the public a real
out-of-door American ; a man who
loves nature and forests and oceans —
not a butterfly chaser or a fern col-
lector, hut a regular fellow who's got
brains enough to realise how
small man is in comparison
with the world he lives in,
and, because of that realisa-
tion, keeps striving to per-
fect himself. Does that
sound highbrow ? If it
does, it's just because I
can't express in words
what I hope to reveal in
characterisation on the
screen."
Monte Blue is a Cherokee,
and his tribe are very proud
of his success in the screen
world. Recently he received
a message from the Cherokees
begging him to accept no
more " heavy " roles, but
to insist on being cast as
the hero in all his pictures.
The Cherokees do not like
the thought of an Indian
being made the villain of
the piece. Doubtless. Monte
Blue has inherited his love
of the great outdoors from
his Indian forbears.
Outdoor life is essen-
tial to my work in motion
pictures," he
declared. " The
public likes best
Monte Blue in " The
Fighting Schoolmaster."
the things that it can understand the easiest.
And what, after all, is easier understood than
a man with clean ideals, a clean mind, and a
heart that is strong to face whatever may
arise ; a hand ready to aid, but quick to defend
the honour of its
owner or his loved
ones ; a brain that
is ecpial to any
emergency — one
who loves the
big out-
doors ?
26
THE PI CTU RE-GOE-R
APRIL 192
Picturegoers will not approve of Alma Taylor's late American trip, which has
deprived them of seeing a release featuring the popular Hepworth star until
the autumn. She intends, however, to make up for lost time, and is to work on
three productions at once, one of which may be a refilming of Comin' Thro the Rye.
,PRIL 1922
THE- PICTU RE-GOE-R
27
Appropriately enough. James Rennie played opposite Dorothy Gish in Remodelling
a Husband, before she took him for better or worse. Dorothy's husband is
well known on the legitimate stage, and she first fell in love with him when watching
his work from the stalls. Rennie's latest films are The Dust Flower and Star Dust.
28
TM& PICTUREGO&R
APRIL
Brn in London in 1880. V/yndham Standing is a member of a famous English
theatrical family. He has supported Norma Talmadge. Constance Talmadge.
Elsie Ferguson, Marion Davies. and many of the screen's most popular stars.
He achieved world-wide fame with his portrayal of the ghost in Earthbound.
PRIL 1922
THE- PICTUREGOE-R
29
rr*he above picture will conciliate Pauline Frederick's admirers who disapproved
T
of a recent frontispiece. Pauline, who is now Mrs J. A. Rutherford in
private life, has just finished a film version of W. J . Locke's novel "The. Glory of
Clementina Wing." She will be seen this month in " The Mistress of Shenstone "
30
THE- PICTUREGOtR
APRIL 1922
Chrissie White could write her reminiscences under the title of " Fifteen Years
of Movie Making," but she is not nearly so old as she sounds, because she
started her film work when still a school-girl. Her latest completed picture is a
comedy, entitled Tit for Tat, in which she co-stars with Henry Edwards.
[APRIL 1922
THE- PICTUR&GOE-R
Movie
31
, -^Millipery ,
A smart Spring model
in citron straw.
Rose (elt, combined with
tuscan, gives a very
pleasing effect.
A roll-top turban hat of grey
crepe de Chine with an
ostrich tip plume.
tK
A charming model of white
crepe de Chine trimmed
with red Swiss braid.
\
a
A neat hat of black Milan
straw trimmed with a
double quill.
This model is of soft white
straw and white crepe-
de-Chine.
,-Bt
•
A stylish hat in reseda green
velvet faced with black.
32— APRIL 1922
TH E-
" Pickfair," Which Doug and Mary had built after their own designs, stands j
swimming-pool and plunge are its most conspicuous features. Doug and Mfl*|
. j ; E- R
APRIL 1922-33
u\oul grounds in Beverly Hills. The huge dining-room, the verandah, and the
ueir leisure hours al home , they entertain, but do not often go a-visiting.
34
THE- PICTUREGO&R
APRIL 1922
Monarch oi
Kingdoms !
en
many
the world's four
come many
From
corners
seekers after the elusive
bubble \\ liieh is fame ;
but surely the movie
" hero " is the greatest
of all finders. lie is
beloved of all the world's
Eves courted and petted
by a million maidens \vli<
yet have never gazed upon
his handsome face or heard
the magic of his voice !
But w hat \\ ould y< iu ? The
superman w ho is for ever rescuing
fair damsels from the fiendish
clutches of the villain who is ever
ready to wed the beautiful girl who
has succumbed to his love who
goes through life a " strong, silent
rock of courage and support, in the
helpful garb of twenty-guinea suits
well, surely he is entitled to wear an
out-si/e in laurel wreaths !
Hut it is often an unsought for
worship which is laid at the shrine
of the hero, and, believe me (for I
know a lot of them as mere men !)
those wreaths are a devil of a weight
to carry about at times, and their
wearers would gladly east them adrift,
I unconsciously displayed an ab-
normal amount of courage once by
dining 111 a well known restaurant with
a popular " leading man " of the
screen. I'hew ! Being a normally
healthy woman, and a journalist, I
am very fond of good food (strange
what a passion we can work up for
* the unattainable, isn't it ?) ; but. in
spite of the superb, efforts of an ex-
cellent chef, that dinner was a night-
mare I Hall-way through the soup,
a diner at an adjoining table, who
had been literally " eating " my com-
panion with her eyes, to the sad and
sinful neglect of her dinner, made a
sudden, spontaneous dash lor our
table She Hushed prettily (like the
heroine of a popular novel), gasped
a little (like a rather embarrassed
trout), and swooped, bird-like, to the
quarry.
" Oh ! you're Mr. X V.Z., aren't
you ? I am a great admirer of your
acting. I wonder if you will oblige
me with your autograph ?
And a stray menu was appropriated
for the purpose. But Mr X.Y.Z.
obliged," of course he even looked
as though he were deliriously happy
about it ! Having now become the
i ynosure of all feminine eyes in the
place (men, poor maligned creatures !
are the personification of sympathy
and deportment in such crises), the
succeeding courses of the aforesaid
" good loud " were sprinkled with the
condiments of discomfort and em
barrassment tor me. at least. Lead
ing men, I have since discovered, learn
Charles
Ray. a King
of Hearts.
the Making
lo bear such torture with
amazing and silent forti-
tude The waiter, who
was hovering around us
with the exquisite minis-
trations of his kind,
was, 1 eventually no-
ticed, so far forgetting
his exalted position as
to stare, at intervals, at
my companion, with eyes
that betrayed that " 1
know who you are ! " know-
ledge, which had recently
lurked in the fair lady's His
curiosity ultimately overcame
his discretion, and, as he even-
tually placed the coffee before
the " hero," he whispered hoarsely :
My youngster will neve) believe
me when 1 say I've had the honour
of serving you, sir ! She's got \ou
pasted all over her bedroom your
pictures, sir, of course ! "
It was good to get out into the (old
and calculating neighbourhood of Pic-
y-, a y^j, Ts~^\ \ / A A. cadilly. At least, I should say it
V* /\ |l \ r, \/\ L\ \ seemed a- though it were going to be
LjLjI \JL/lJ/\ V_J 1"JL/"\I\ Sood Hut we hadn't gone a hundred
/ yards before two young and eager
GERTRUDE M ®<ALLEN
Rescuing (he
heroine is part
oj a hero's duty.
Here you see
Charles ///' < ';/
son oh the job.
maidens had "spotted" their screen
idol, and he had again bestowed the
coveted autograph.
All this upset was rather spoiling
things tor me. for Mr. X.Y.Z. had been
entertaining me so delightfully with
stories of a wife, the like of whom had
[i ontinutd ">i P.i%r <.
Rudolph Valentino.
■<7ie oi the s( recti's
great " lovers." in
a st,cne zeith t',t->riu
Swam >•
APRIL 1922
THE PICTUREGOE-13
Go 7/f^& >Ao ?rve
K.R.G. BROWNE
Y
'
Still Bill " Stover, foreman of the
Flying Heart ranch, Nevada,
came out of the ranch-house with a
letter in his hand and a worried
expression on his weather - beaten
countenance. Seated upon the porch,
placidly smoking and enjoying the
pleasant air, was a tall, dark man.
with an effective moustache and
unreliable eyes.
Here's trouble, Ladew," said Still
Bill.
Ladew looked up.
" What's eating you ? " he" asked
Still Bill held out the telegram.
" Owner turning up," he said sourly.
Ladew took the telegram and read :
" Arrive to-morrow. Prepare for
guests. Keap."
" Ah ! " said Ladew, and thought for
a moment. ' Thank the Lord it's a
woman. Tell her we're digging for
water. She won't know the difference
between an oil-derrick and an old
concertina."
" Perhaps you're right," said Still
Bill, and went his way.
Which calls for a word of explana-
tion. The owner of the Flying Heart
was, as Mr. Ladew had pointed out,
a woman ; none other than a Mrs.
Roberta Keap, to whom the ranch
had come as a gift from her husband
on his departure for the war. Roberta,
however, was the kind of person to
whom the excitements of Broadway-
appealed very much more than did
the simple life of Nevada, and the
conduct of the ranch had been left
in the supposedly competent hands
of Still Bill. Which arrangement
suited that gentleman admirably, in-
asmuch as he hail for some time
suspected the existence of oil on the
premises and, with the assistance of
his friend Ladew, a slightly shady
engineer, had definitelv proved that
suspicion well-founded. It galled the
worthy Mr. Stover that the owner
should turn up before he had had
CHARACTERS:
J. Wallingford Speed Cullen Landis
Jean Chapm - Helen Ferguson
Helen Blake - - Lillian Hall
Donald Keap - Kenneth Harlan
Mrs. Roberta Keap - Ethel Grey
Terry
Larry Glass
Berkeley Fresno
Skinner
Willard Louis
Walter Hiers
- M. B. Fl.YNN
Sarraled, by permission, from the GoMwyn film
based on the story by Rex Beach.
time to make good profit from his
discovery, for he had not proposed
to mention this little matter of the
oil to her at all. Money is always
useful, but she had more than enough
already.
Still Bill's was not the only anxious
mind on the Flying Heart premises.
Every man jack of the " boys " was
going about as if he had just heard
that a wealthy uncle had left all his
money to a Hogs' Home ; and there
was a reason for this, too.
Away to the east of the Flving
Heart lav also the Centipede ranch.
devoted to the raising ol cattle Now
the Flying Heart pinned its faith to
sheep, and it is far. far simpler to
get a satisfactory blend from oil and
water than it is t6 promote friendship
between a sheepman and a cattle-
man Hence, the rivalry existing be-
tween the Flying Heart and tin-
Centipede was a fierce and furious
thing. Which explains the supreme
misery of the Flying Hearts when,
having confidently matched their
fleetest runner against the long-legged
cook of the Centipede outfit, the said
Centipede cook won the race with
yards to spare, a smile on his face,
and the greatest ease. Wherefore the
Flying Hearts, having backed their
man to the full extent of their pockets,
knew what real gloom meant
This was the inspiriting atmosphere
into which, on the following day,
the ranch Ford-of-all-work decanted
Mrs. Roberta Keap and a select
assortment of friends There were
present with her Miss Jean Chapin,
Miss Helen Blake, and Mr Berkelej
Fresno, the former lady being be-
trothed to Culver Covington, brother
of Roberta, and Vales crack sprinter
The air of depression which hung
over the ranch was explained to them,
as they sat in the porch after supper,
by one Willie, the cook, as he con-
ducted operations with a large broom.
Yes'm." said Willie sadlv. " you
can't wonder that the boys is down,
after the way them Centipede fellers
trimmed us vesterday. That cook
feller. Skinner, travels like a hit
o' greased lightnin'. We got no
36
THE- PICTUR&GO&I2
APRI
192;
one here to get within a mile of
him."
At this juncture there sprang up
excitedly Miss Helen Blake,
" Why," she cried, " there will be
someone to-morrow ' Mr. Speed, one
of the fastest runners in Yale, is
coming along ' He'll run for you !
Willie's wrinkled face split in a
grin of hope.
" Is that so, ma'am ? Jes' let me
break it to the boys '
JVVallingford Speed, alighting from
the train on the following day,
was somewhat surprised to see
upon the station, in addition to his
hostess and her friends, a number of
earnest sheepmen who stood at a
little distance regarding him as if he
wen some rare and valuable beast.
Hardly had he greeted his friends
when the reason for their presence
was made plain
"Oh, Mr, Speed.'' said Helen Blake.
the men want you to run for them."
" Run for them ! " said J. Walhng-
ford Speed.
Yes. There's a man at the next
ranch who can beat everybody here,
,md they're very upset about it. 1
told them you'd run for them, and
.they're delighted. You will, won't
you ?
J. Wallingford Speed gulped un-
easily.
Miss Blake," he answered un-
steadily, " I'd race an antelope for
von "
From the assembled " bovs " arose
a howl of joy ; they crowded round
him, patting him on the back, and
uttering encouraging sounds. J.
Wallingford accepted these tributes
to his sportsmanship with diffidence,
even with embarrassment. His manner
"Miss
Blake," said
Speed ; " I'd race
tike an antelope jor
vou .' "
was that of a man whose greatness is
thrust upon him. As in truth it was.
J. 'Wallingford Speed ran magnifi-
cently— with his mouth. On the
track itself he was about as much use
as a man with no legs. He could
run to catch a train or to post a letter,
but even then his pace was such that
he would probably miss the connec-
tion or the post. In short, he was no
runner. How, then, did Miss Helen
Blake come to believe that Mercury
had nothing on him ? Simply because
vanitv is vanity the world over,
and because J . Wallingford Speed
had first met her at an inter-collegiate
athletic meeting. There he had fallen
in love with her at first sight, and
had been unable to leave her side
throughout the proceedings. To her
inquiries as to why he himself was
not taking part in any race, he had
replied that he could have done so
had he chosen, but had preferred to
let his old friend Culver Covington
have a chance. He added that, had
he really chosen to run, Culver
Covington would have been away
back among the field. Do not blame
him for these exaggerations ; very
likely you would have done the same
under similar circumstances, and it had
seemed improbable that he would ever
have to make good his boasts.
Now, however, Nemesis was at
hand. He must either run against
this fellow from the Centipede, or
stand for ever disgraced in Helen's
eyes ; and even if he did run, he did
not suppose the result of the race
would lead her to regard him as a
hero. At this point he had a brain-
wave. Culver Covington was due at
the ranch on a visit to his sister and
fiancee in a few days time, He
(J. W. Speed) would wail until that
happ\ day , then he would
conveniently fall sick, Culver
would take his place, the Centi-
pede's cook would sutfer defeat,
and all would be well ! A very
sound scheme, thought J. Wal-
lingford Speed, and he sat
down 'then and there and
summoned to his side a certain
I. airy Glass, the Yale trainer.
May as well do the thing in
style, thought J. Wallingford
Speed.
Glass duly arrived, was in-
formed of the scheme, and
entered into it whole-heartedly.
" We'll show these rubes ! "
said Glass. " But we'll have to
make some show of training."
And make a show of training
they did. Larry Glass worked Speed
without mercy. Each morning J.
Wallingford and his satellite appeared
before an admiring assembly of girls
and sheepmen, clad suitably for the
track, and went through a number of
impressive but meaningless exercises.
J . Wallingford Speed even went so
far on more than one occasion as to
run ; but he only ran out of sight of
the house, and then sat down to rest.
Willie, the Flying Heart's cook,
lost no time in fixing a new match
with the Centipede outfit.
" We'll show you ! " said Willie
to Mrs. Gallagher, the hard-driving,
hard-shooting owner of the Centipede.
" We got a feller now that'll make
your Skinner look like two cents.
Want to make a bet ? "
Mrs. Gallagher did want to make a
bet. So did every member of the
Centipede outfit. And the bets were
made.
We have so far said little of Berkeley
Fresno. This is not because Berkeley
Fresno himself was little. On the
contrary, his dimensions were those
of a young elephant. This adulation
of J. Wallingford Speed filled Berkeley
Fresno with the deepest disgust, for
he, too, owned to a passion for Helen
Blake. Knowing the precise extent
of J. Wallingford Speed's pedestrian
ability, his disgust at length got the
upper hand, and he sought out Willie,
the cook, in whose capable hands all
arrangements for the great race had
been left.
" Look here," said Berkeley Fresno,
" you're a lot of fools ! Speed can't
run any more than I can."
" Can't run ! " said Willie. " But
he says he can. An' I've seen his
fnedals."
"Medals!" cried Berkeley Fresno.
Those aren't medals ! Those are
only badges he's had from time to
time as a member of reception com-
mittees !
" Is that so ? " said Willie thought-
fully. Without delay he sought out
Larry Glass.
" Sec here," said Willie to that
gentleman. " we want to win this
race ! "
Win I " said Mr. Glass. " Why
our man'll win it on his head 1
APRIL 1922
THE PICTUREGOtR
?7
We don't want him to win it on
his head.'- said Willie " We want
liim to win it in the usual way We've
drawn three months' pay in advance
and staked it on him, and we can't
afford to lose And I'm here to see
we (hint lose I in nut satisfied with
your methods <>' trainin'."
" Oh ! " said Mr. Glass scornfully,
"aren't you ? Let me tell you I'm
a trainer, I am, an' what I dunno
about it don't amount to a lot."
" Maybe," said Willie, " but I like
to be sure. So we're goin' to isolate
you an' young Speed an' set a man
over you. It don't do him no good
to get sit t in ' around with them gals
when he ought to be out on the road."
" You're goin' to what ? " gasped
Mr. Glass. " Well, of all the
goldarn — "
Willie's right hand Hashed down
and up. and the muzzle of a six-
shooter insinuated itself into the
region of Mr. Glass's waist-belt.
" Less of it," said Willie, " less of
it ! We're goin' to see that our man
wins this race, or it's coffins for
vours !
" All right," groaned Larry Glass
miserably. " Just as you say."
Of all those about the ranch,
probably least interest in the
coming event was taken by Roberta
herself. She had other things to
think about. Her husband, for in-
stance. Roberta had grown a little
tired of Donald's lengthy absence,
and, by dwelling upon fancied griev-
ances, had come to consider herself
ill-used. So much so, indeed, that she
informed Donald upon his return to
America that she intended to divorce
him, and would pay a visit to the
ranch while the proceedings were
going through. Which explains her
sudden descent upon Still Hill Stover
ami his gentlemanly friend Ladew.
Roberta was impressed by Ladew,
who was above all else a man of the
world, though, if certain enemies of
his had had their way it would have
been some other world than this.
She developed a habit of consulting
him about the ranch, and was some-
what surprised at his opinion of it.
It's a poor place," said Ladew.
You should sell it, though I don't
suppose it will bring you in vers
much."
Roberta, having once encountered
Mrs. Gallagher, was not very greatly
attracted by the owner of the Centi-
pede. Mrs. Gallagher, she gathered,
regarded her and her friends as
useless, cocktail - drinking, shimmy-
shaking blots on the landscape. She
gathered this because Mrs. Gallagher
had said so. She was the more sur-
prised, therefore, when Mrs, Gallagher
■ one fine day rode over to call.
" I've come," said Mrs. Gallagher
bluntly, " to see if you've enough
pluck to lay a bet on the race. I'll
bet my ranch against your collection
of flea-bitten sheep that my man runs
rings round vours."
I iir a moment Roberta hesitated
Then her head went up.
It's a be1 ! ' she said
News of this transaction affected
two members of the house-party in
two different ways It annoyed Mr.
Ladew exceedingly, for he had been
confident of buying the ranch at a
low price, or. failing that, of obtaining
possession by the simple expedient
ol marrying Roberta. If the future
ownership of the place were to hang
in this fool manner upon the result of
a loot-race, it looked as if he might
say good-bye to all his hopes of making
anything out of the oil discovery,
In the case of J Wallingford Speed,
the news of the bet was sufficient to
bring home the awkwardness of his
position. He shuddered to think
what might happen to him if the race
went to the Centipede However,
he pinned his faith blindly to Culver
Covington, and prayed that the latter
might not be long delayed
J. W Speed, as a matter of fact,
was beginning to realise that he had
done a very foolish thing Willie had
not failed to carry his dictum into
effect, and Speed and the trainer
found themselves watched night and
day by one or another of the boys.
Cut off from all communication with
Helen, compelled to go forth every
morning upon long and exhausting
runs, forced to eat the plainest and
most unappetising food, he began
seriously to wonder if the game were
worth the candle. Especially since
from the windows of his training
quarters there was not denied to him
a clear view of Berkeley Fresno
disporting himself and exerting all
the powers of his mandoline upon an
apparently unreluctani Helen Life
was very grey, thought I Wallingford
Speed
One may imagine his jo\ therefore
when one bright morning Roberta
showed him a telegram from Culver,
w hu h read ' Expect me this after-
noon
Hooray ' " yelled Speed, waving
the message above his head. " Another
da\ of this and I'd have gone clean
crazy ' Hut it's all right now
Culver's coming !
The rest of the morning he spent
in a blissful state of exhilaration. He
dared not as yet say anything to
Willie and the boys, but he proposed
to time his first serious attack of illness
to occur shortly after Culver's arrival
Then good-bye to all this training
rubbish, and hey-ho ' for Helen again !
The time set for Culver's arrival
found the house-party waiting on the
porch ; it is probable that Messrs
J. Wallingford Speed and Larry Glass
were easily the happiest persons
present Presently the lord hove in
sight, drew nearer at a great speed,
and pulled up before them, from the
rear seat the cheerful countenance of
Culver Covington grinned out at them
Hullo, everybody ! " he said
Hoorav, Culver ' " yelled Speed.
(dad to see you ! Never was there
a truer greeting.
Culver rose from his seat, opened
the car-door, and what was this ?
picked up a pair of crutches ! With
the help of these he alighted and
hobbled over to the ^roup. still
grinning cheerfully. His right foot was
swathed in bandages.
One sympathises with J. Walling-
ford Speed. He reeled back against
And make a shmu of training they did Larry .(ilass worked Speed without mercy.
38
THE- PICTUREGOE-R
APRIL 19.">2
the equally unn< rved (Mass and stared
bli nkly.
" C - C Culver ! " he .stammered
feebly What's happened ?
rjh, nothing much," answered the
great sprinter cheerfully, " only broken
my little toe.''
J, Wallingford Speed, his heart too
full for words, turned and stumbled
blindly away.
The day appointed for the race
drew steadily nearer, and Willie, the
cook, encouraged Glass and his un-
willing protege to new and greater
efforts. J. Wallingford Speed gave
himself up for lost, knowing full well
that with Culver out of the way the
Centipede cook had as much chance
of being beaten as he (J. W. Speed)
had of winning. The eve of the great
Contest found him almost in a state
of collapse from sheer fright.
In the middle of that night, long
after every one had
retired, there arose
a sudden piercing
shout : " Fire 1
Fire ! "
Hastily every one
leaped out of bed
and hurried forth,
to be met with the
news that the con-
flagration was in
the field where
Stover and Ladew
were supposedly
making their inves-
tigations concern-
ing a water supply
The house, rapidly
pulling on coats and
wraps, piled into
the car and drove
there at full speed,
followed by the
boys.
As the car pulled
up at a safe dis-
tance from the
blazing derrick, a
weary, battered,
smoke-begrimed "Hooray'
figure stumbled to-
wards them. Roberta gave a little
cry..
"Donald ! "
Her husband looked at her grimly.
Do you know what they were
doing here ? " he asked " Oil.
That's what they've found over there ;
not water ! I suspected it, and came
along to have a look. Stover and
l.adew found me and set on me. We
upset a lamp into a pool of oil and
started this blaze. They've cleared
out now, 1 guess, the skunks !
And they had. Stover and l.adew
had been swallowed up by the night
and were not again seen.
Rut, Donald, " said Roberta, " how-
do you come to be here ?
" Me ? " said her husband. " Oh,
I've been punching cows for Mrs.
Gallagher over at the Centipede for
a week or so. I wanted to find
out what this fool idea of divorce
was all about. Roberta, can't we
give it up : You know I love
you."
Hut Roberta, though more moved
than she would have cared to confess
by her husband's re-appearance, would
give him no definite answer at the
moment.
I^he next day saw a large concourse
of cowpunchers, sheepmen, and
all the inhabitants and visitors belong-
ing to the Flying Heart and the
Centipede gathered in a field for the
memorable race.
Helen Blake, Jean Chapin and
Roberta were there, excited but con-
fident of the success of the candidate ;
Berkeley Fresno was there, openly
sceptical, but greatly aggrieved at
being thrust out of the limelight ;
Donald Keap was there, at the side
of Mrs. Gallagher, quietly watching
the proceedings ; Willie, the cook, was
yelled Speed. " It's all right, now — Culver's cowing
there, complete with revolvers, ready
and willing to punish the first sign of
weakening on the part of the Flying
Heart representative. All, with two
exceptions, were excited and happy.
The two exceptions were J. Walling-
ford Speed and Larry Glass. Both
these unfortunates felt that their last
hour had come. With the discovery
of the oil, the value of the Flying Heart
had gone up with a bound, and the
thought that the ownership of the
place now depended solely on his
powers as a runner made Speed feel
positively ill. It was only with a
tremendous effort that he got himself
to the starting-point, where the tall,
sinewy figure of Skinner, the swift -
footed cook of the Centipede, awaited
him. Mrs. Gallagher, in her capacity
as starter, brandished a large
revolver.
" On your marks ! ' she cried.
The course is once around the corral
and back to here. Are you ready -
The gun cracked and Skinner sprang
away. After him laboured the un-
happy Speed. From the watching
crowd arose an encouraging chcci as
the runners swept out of sight round
a corner of the house. In a moment
they came into view again, with th»
lean form of Skinner still in the lead.
In this order they turned into the
home stretch, while the yells of the
crowd increased in volume. Suddenly,
when a bare twenty yards from the
tape, Skinner tripped, stumbled, made
an effort to recover, failed and fell
headlong, sliding forward in a cloud
of dust. With a supreme burst of
speed, J. Wallingford tottered past
and broke the tape. Then, utterly
exhausted, he collapsed.
Slowly, while the cheers of the
Flying Hearts echoed about him, he
opened his eyes, and perceived, bend-
ing anxiously over
him, the fair face
of Helen.
"I'm sorry 1
lost, Helen," he
mumbled dazedly.
' ' You didn't
lose," said Helen
happily. ' You
won !
Meanwhile, in a
corner of the corral,
Skinner, the de-
feated hope of the
Centipede, had
limped up to
Donald Keap.
" When \tou first
came to the ranch,
Captain Keap," he
said, " I was pretty
sore against you
because I thought
you were the guy-
that was respon-
sible for getting me
court-marshalled in
France. But I got
a letter this morn-
ing that showed me
you weren't, and
that you were the feller who saved
me from a heap worse. I'm sure
glad that letter came in time, Captain
Keap."
He turned and walked away, and
Donald puzzled over the meaning of
his last words, until he saw that all
trace of Skinner's limp had now-
vanished.
Donald smiled and made his way
slowly to Roberta.
" Roberta," he said slowly, " do
you still feel the same way about
that divorce ?
Roberta, her head turned away,
said nothing.
" If you don't," said her husband,
" what do you say to starting all
over again and putting in a spell down
here at the Flying Heart ? Another
honeymoon ?
Roberta, turning her head now,
looked at him and smiled.
" I'd love it, Don," she said.
APRIL 1922
THE PICTUREGOE-f?
39
Comp/essec/ Career?
DOROTHY
DALTON
■f X.'hen Dorothy Dalton was out in the West, of all motion
VV pictures she liked Ince's best She was just twenty -two,
and determined that she a film star for Thomas 11 [nee ought
to he. So she sent him awire and told him her views ; but a
printed reply brought discouraging news. "He regretted, of
course, but Triangle Kay-Bee had nothing to offer Miss
Dorothy I) " Miss Dorothy thought that distinctly unkind.
But as she already had made up her mind she would be a
screen-star, she wasn't inclined to accept his decision.
She promptly resigned her position (in " stock " she had
long been a star), and purchased a ticket for Sant' Monica.
(That " Sant " should be " Santa,'' I may as well say.
For the sake of the rhythm, I've left out an A. It will
spare you the trouble of writing to me, in case
you are well up in geography). She wired once more :
Leaving Saturday night — I guess when you've
seen me you'll want me all right." It took her
ten days to get out there, and then she came to a
camp rilled with horses and men. There were
Indians, Cowboys, and once in a while a Mexican
costumed in picturesque style. She watched
their manu-uvres with unfeigned delight ; to
this city bred girl 'twas a wonderful sight.
But she found them remarkably hard to
convince that she must, and she would, have
a word with Tom Ince. She haunted Great
Inccville both early and late. They said : " Ince
is busy." She answered : " I'll wait." And
Dorothy Dalton was waiting there still, the day
William Hart's leading lady fell ill. Then Dorothy
dimpled and said with a smile : " If you please, Mr
Ince, won't you give me a trial ? "
He gave her a fatherly warning at first. He
thought she'd cry off if he told her the worst. He
mentioned some hardships she'd have to go through ;
he told her some stunts that she might have to do.
How barefoot, in rags, through a wood she must
run. And Dorothy dimpled and gurgled, " What
fun ! " He explained that she'd have to look
haggard and sad, for the girl in the film was supposed
to be mad. And when he'd quite finished, she said :
" On the whole, I think it's a perfectly beautiful role."
They made a few tests, then he gave her the part (this
was in The Ihsciph, with William S. Hart). In
The Jungle Child soon she was given the lead. And
the critics declared she was splendid, indeed. This
settled her fate, and since nineteen-sixteen a fully
Hedged star the young lady has been. In The Flame
"(the Yukon, The Price Mark, Hard- Boiled, Tyrant Fear,
Flart Up Sal, The Pretenders she toiled. Played girls
from the dance-halls and girls from the camps, girls mis-
understood, some Society vamps, one Widow (Wild
H inships), then, later. " Queen Anne," in a big costume
picture they called D'Artagnan. She was featured in just
a feu others as well, but I haven't much space, so I'd better
not tell you the names of them all. Best remembered she'll be by
her " Chrysis, a lady of Old Galilee," in a play from the French which
created much talk, and ran for some hundreds of nights in New York.
As Dorothy wasn't a damsel to shirk, she believed in combining her stage
and screen work. In Paramount Studio spent every day (returning each
evening to "Aphrodite") As the Half An Hour heroine (everyone
knows this is one of Sir James Barrie's best cameos). In private life
Dorothy's keen upon sport — loves shooting and swimming, and things of
that sort. She sings well and dances divinely, of course, and is perfectly
happy bestriding a horse. " I do not intend to get married," says she.
My work and my husband would never agree ; and although on the
screen I say many ' I wills,' I live bv myself out in Beverly Hills."
40
THE PICTUREGO&P
APRI
1
L 1922
Many ot us remember the shock and disap
point merit in our youthful days when
we ti i -it gazed upon the features of our
favourite seaside nigger with his facial
covering of black grease-paint removed,
and his usually spreading month
reduced to its normal dimensions.
Robbed of his ebony-hued " mot-
lex , he was a disappointing
spectacle : his droll personality
left behind with the red and
black grease paints that trans-
formed his face into the amusing
grotesqueness that appeals to
tin- « hildish mind.
Had I waited for Harold
Lloyd to emerge from a modest
dressing room on the sands
when 1 passed through the
customary period of youthful
nigger-worship, I am sure that
I should not have been dis
illusioncd to the extent that
I'm le Sambo without his grease
paml and expansive grin shat-
tered my (hildish imaginings.
[■'or the world famous screen come
remarkably similar iri ap-
both in private life and
is engaged in relict ting side-
funniositics before the film
dian is
pearancc
w hen he
splitting
i ameras.
When I met him in the luxurious palm
court of Ihe Hilt more Hotel m New York,
1 looked into the reflective eves of a
well groomed young man with a low,
courteous voice, and the manners of a
'Varsity graduate.
You recognised me without my
glasses - " he asked with a quiet smile.
One does not have to be a. detective
to track you down when you
are away from the studios,"
I assured him, as I thought
how tradition somewhat un
kindly has led most people
to associate )<■([ noses, gro •
tesquc faces and freakish
clothes with those come
dians who add to the gaiety
ol nations. And the film
funny men are also swept
along in the flood of this
widespread fallai \ .
I n a. d isc reel I v pal m -
shaded corner ol
hotel lounge we
and of I larold
in particular.
And because this gentlemanly youn
makes £300,000 a yearot.il of Ins screen
views are worthy of attention. \nd
appeared in well over three hundrt
his time.
At last people .ire beginning to realise that
the plot is one of the big things that matter in
comedies," Lloyd told me. " I am a great believer
in putting real stories into humour-films, and not
stringing together a lol of meaningless incidents,
and labelling them comedy.
1 usually wrap my fun round some sympathetic
(heme with a romantic interest, and a present.!
tion ol myself in ludicrous difficulties. It is human
nature to want to laugh at someone in trouble,
provided that the tragic note is not struck."
You are not an advocate of slapstick?" I
suggest ei I
" Not to any great extent," responded Llovd.
^^r^^^'
the ornate
talked of fun makm
Lloyd's ideas on
in general,
si reen comedy
fellow
Inn. his
he has
»medies in
You can gel more laughs with subtle humour
of the rapier description than you can with
the bludgeon type of wit that embraces the
nevitable custard pies and propertv bricks
thrown at people's heads.
"That is why 1 have always fostered
the humour creating possibilities of
funny sub title 1 have these
specially prepared for my films by
i man whose bump of humour
has been abnormally developed.'1
Tell me one or two,' I
asked, with my fountain-pen
poised.
" Well, here's a good one,"
chuckled Lloyd. " Once when
.1 was being forcibly ejected
through a window, we sub-
titled the incident : ' He felt
a pane in passing.'
Here are some more.
' Mother love is the most
enduring thing in the world.
Think this over next time
you see a male chorus in a
musical comedy.'
It takes a brave man to
wheel the twins past the girl he
has jilted.'
If William Tell were alive
to-day some ammunition company
would have his picture on a shot-
gun advertisement.'
Llovd loves humour. You can
see it in his twinkling, grey eyes,
when he is chuckling over his jokes.
His long, shapely face beams at
such moments as only one would
expect an individual with broad,
fat cheeks to radiate his funny
reflections.
When the three-hundred-
thousand - pound - a - year
comedian talked of his early
days, I realised what irony
lay in the fact that this
universal mirth-maker spent
his youth in the serious,
uninspiring surroundings of
railroad offices. Naturally
he found little scope for
his humour there, so, after
his associations with ama-
teur theatricals had roused
________^____ his inherent love of the
stage, he went on the stage.
" I was nineteen when 1 drifted to Los Angeles,"
said Lloyd reminiscently. " There I played in
crowd parts.
" I have a confession to make concerning those
pioneer days. Mack Sennett, who is famous for his
' star ' discovering instincts, said to me one day :
" ' Lloyd, you will never succeed in pictures. You
had better try something else.'
" Were you much discouraged ? '.' I asked, syni-
pathetii ally.
" Not a bit," grinned the humorist ; " but what
did give me a real kick was the accusation that I
was copying Charlie Chaplin when 1 started the
Lonesome Luke Comedies. That decided me to
start a new character -henee the horn-rimmed
spectacles and the rest of my screen characterisations.
" Those famous spectacles," I observed. " What
made you adopt them ?
" No idea at all. Probably from the college boy?
that 1 saw wearing them at school," he confessed.
" I've used the same pair since my earliest pic-
tures," he told me. " When I start climbing about
LAMPS
ILJOYD
IAPRIL 1922
THE- PICTUR&GOE-R
41
the girders of skyscraper roofs or
floundering about in water, 1 replace
them with a spare pair in case I
break or lose them. They are my
mascot.
" Did you ever hear the story of a
I voung man who did very well for a
time impersonating me in hotels and
restaurants ? He ran up big bills, and
j then decamped. He was remarkably
like me in appearance, but he made
the mistake of not only wearing
horn-rimmed glasses all day, as 1
I never do, but he had lenses in them.
That little mistake led to his mas-
querade being discovered. There's
nothing wrong with my sight. I only-
wear glasses to give me an air of
serious sadness when I get into awk-
I ward predicaments in my comedies."
Lloyd ranks amongst his best films,
Bumping Into Broadway, Captain
I Kidd's Kids, From Hand to Mouth,
His Royal Shyness, An Eastern West-
erner, Haunted Spooks, High and
Dizzv, and Get Out and Get Under.
Whilst we were on the subject of
I character-comedy presentations for
j the pictures, I gleaned from Lloyd
- some enlightening facts concerning
the heavy drain that the cost of
screen comedian's costumes entail on
'the studio exchequer.
The funny hats, coats and shoes
that Lloyd affects have to be made
especially for him at considerable
cost. His supply of immaculate white
1 spats run up a bill of twenty pounds
a year, and his oddly shaped hats
cost in the neighbourhood of five
; pounds each, owing to the fact
; that they have to be especially
modelled.
" I wear out thirty pounds'
worth of trousers a year,"
grinned Lloyd whilst wc dis-
cussed the dress problem as it
concerns screen humorists.
" Sliding down telegraph poles
and being dragged over fields
and roads is a form of treatment
that one's nether garments natur-
ally resent, and thev soon hud
their way to the wardrobe scrap-
heap.
" I am the despair of the repair-
ing staff, for I seldom give them
,ui opportunity of practising their
renovating arts. I generally suc.
ceed m reducing my clothes to
ragged, nrepairablc mockeries of
their former shapeliness."
Before I departed, the serious
voung in, i n who has extended a
screen grin throughout Kurope
made a confession that lies
close to his heart.
" J think it is a tragedy
that the screen comedian, al-
though he may be bursting
with humour, can only express
it by mannerisms on the film,
and the spoken shaft of wit is
denied him.
" I have a safety-valve that
helps me to work off that dis-
appointment," grinned Lloyd.
I write epigrams in my spare
time. And when the oppor-
tunity occurs, I turn them
into sub-titles."
Harold
Lloyd
and
Mildred
Davis.
II'- reeled over a
series o) these witty
efforts ' Kepartee is
whal yon think of on
the way home ' Many
scrappy returns o1 the
day is the appropriate
birthday greeting to
send to pugilistic a<
quaintam es ' An
apple a day keeps
t h e doctor
away— but it
e
.v n
mi-
g
few that I can
recall."
Lloyd has an
almost boyish
delight in rel.it
ing humorous
stories, and to
watch the re-
flect i v e light
fade from his
grey eyes until
they twinkle
with merriment
is to realise h< *w
much he enji lys
fun-making be-
fore the came-
ras. I'ndoubt
edly his ances-
tors were Courl
Jesters in by-
gone ages.
And with that
familiar droll
seriousness ol
expression that
he a fleets on the
silver screen, he
was puzzling
over further
clever witti-
cisms when I
left him behind
in the palm
lounge, p. r. m.
42
THE PICTUR&GOtR
PIGTUREGOE^
The FUTURIST.
BIRMINGHAM
A new series of articles dealing with the
leading British picture houses.
II industrialism screams anywhere, it
screams in brazen Birmingham.
Hemmed in l>y a ring of mighty
chimney-stacks which flare like wild
torches in the murky atmosphere of
the. central Midlands, intoned by a
sullen note of never-silent machinery,
it seems as a city racked by the tor-
turing clangour of Vulcan.
Where is there a retreat from it ?
Are there any wayside shrines in which
can be found a respite ? Are there
any temples in which there is a note
of peace ? When the streets sound
as runnels ot violent noise, stern
tyrants of throbbing nerves, there
remains as real in efficacy as any faith-
reviving temple of the past — even in
the city's whirlpool of life the potency
of a great kinema hall which, daring
challenge from time in the title of the
Futurist, does emblazon forth a
message of hope. Turn aside one step,
and in a moment its magic mood has
placed the present behind.
About the exterior there may be
nothing or there may be everything.
It may be called flamboyant, garish,
modern, or grand. But in a great
vestibule, panelled in rich wood, over-
set by a great marble staircase that is
suggestive of an inner temple of glory,
there is a hastening lure drawing one
from that outside world of noise. A
riotous feast of colour, rich colouring
in bizarre mural designs, seem the very
limn in gs of promise. Within, there is
the wonderful hall that has not a
distinct light, but rather a glamour of
colour, a kind of aftermath of lumin-
osity that is reminiscent of a sunset
that the mind recalls from some other
day. or the memorable warmth of the
morning sunlight shining through the
green woods against a purpled sea It
li is the fragrance of colour rather than
tin- colours themselves. In a moment
the mind can realise little save that
A glimpse of the colourful interior oj the Futurist looku
a>dt tht
it is at peace, or that tranquillity is
near. Carmine and purple, deep "blue,
a strange emerald or jade, the gleam
of a constellation of the stars in the
bedecked roof, and the elfish glint
of strangely beautiful faces that stare
from the walls. One great panel shows
the billowing folds of rich red cloth,
above which, silhouetted against her
own shadow, there is the torso and
head, crowned in rich red hair, of a
wonder woman, posing in an attitude
of grace, set off by the bat that hangs
grotesquely in a golden sky. That is
just one glance in a moment of
illumination. So it is a great hall of
a new symbolism — the nave, if you
will, of a votive temple erected to this
new faith of the silent screen. This is
the Futurist note. A temple with a
faith— a faith whose adherents can
slate a credo that belongs as much to
the Futurist as to the art of the film
which is its true raison d'etre.
If anywhere, an antidote to Bir-
mingham lies in this huge cavern of
colour, where jaded nerves find sooth-
ing, and the consciousness is mes-
merised by a subtle blending of colour
and sound. The real apartness of a
temple exists ; the real sense of a
remove from the world. The triumph
of the film here is an easy, under-
standable triumph, because its way is
made smooth by a harmony that is
the truest setting for high art.
But the perfect setting has attracted
or developed a type of kincmagoer
whose taste is that of the connoisseur.
Although dedicated in an important
degree to the service of Mary Pickford,
Douglas Fairbanks, and, perhaps above
all, to Charles Chaplin, it has per-
sistently propagated the British pro-
duced film. That is why a thrill of
interest goes through the vast audi-
torium when the richly shaded curtains
draw slowly to each side, and in that
white mirror of life there appears as
heroine Violet Hopson, or as hero
Stewart Rome. Always the pro-
gramme claims to approximate to the
first-class first-timer, and the result is
that old ladies — to whom the screen
has brought life up to date — vie with
flappers, pert office girls, high school
girls, and young matrons in devotion.
Life seen in pictures moves the
thoughts from a tranquil introspection
that the Futurist's atmosphere has
produced. You can catch the quick
response of every individual. The
twitter that a phase of hilarity incites
sparks electrically in a shadowed seat
and dances like a will-o'-the-wisp m
a marshy fog. The catastrophic col-
lapse in a moment of comedy sweeps
like a storm-wave through the audience
and roars as it bursts. To the move-
ment of tragedy the audience willingly
plays chorus. Old ladies have set the
Futurist in their hearts. They accept
it as they would the National Gallery.
Its note is select.
In the early hours of noon the seats
are mostly the places of city men who
find here their only relief from business.
There are those who attend day after
day. For them the picture programme
does not matter. It is the gradual
illumination, the gradual darkening
from colours that die like a maiden's
blush, and then the strains of the
Midland's finest permanent orchestra
weaving dreams that are never told.
To these votive souls the screen is a
needless mirror.
Created in a mood of inspiration, it
is a torch of hope to the kinema move-
ment, a torch burning fiercely in this
greater England of the provinces in
which a wonderful future for all art
must lie.
(Another picture theatre article next month.*
; APRIL 1922
THE PICTUREGO&f?
43
£%k GLAD EYE
, GIRL '
Wi
There' \ ,/
wicked little
tu inkle in her
TX Tliee-e-e-ler. " The shrill cry was follow e<
VV by an ear-splitting whistle.
I followed the sound and arrived just in time to
see Wheeler Oakman detach his pretty wife from
a tree and carry her back to a big wicker chair.
Say, how d'you manage when I'm awaj
he inquired.
" I don't climb trees every day of my life," she
retorted, saucily. " Besides, you might .is well
make yourself useful once in a while."
She was out of the chair and out of sight in
half a moment, like a whirlwind, with her res< uei
in hot pursuit.
I seated myself in a chair and awaited results.
I was joined by two kittens and a very large
black-and-white dog. Presently the pair returned
and the screen's Wicked Darling allowed herself
to be deposited in her big chair once more.
'She's supposed to be resting,'' Wheeler Oak-
man explained when I had introduced myself.
" But the moment 1 turn my back she get's up
to mischief."
Priscilla Dean winked. She has the wickedest
wink imaginable.
"The kittens went up a tree," she explained,
and I went up after them ; only I tried to come
down with one arm full of kitten and the back
of my dress caught and held me. Hence the
S.O.S."
I*
Priscilla and her pet pup.
From the roguish little twinkle in Priscilla
Dean's eye you would expect her to be a very
cheerful little lady. She is. This unconven-
tional interview with the dainty little Universal
star throws a pleasing sidelight on a pleasing
screen personality.
In case she gets restive again,"
remarked her husband, " I think I'd
better put her back in her tree until
you've done with her."
Priscilla made a defiant gesture.
Remember what happened to you
n last time you got fresh! " she warned
\^ him. Then to me : " Come on, now.
Sail right in with it."
Given with the whole-hearted smile
g^_ of hers which begins at the eyes and
j|^k lingers there always, more or less,
I ^s^ the chance was too good to be
V ^^ neglected.
So this is the famous scrambled
home ? " I commenced
"Sure,' was the reply. 'The front's
Colonial because my lord and master so
ordained it He's from Ole' Virginny, y'know,
and likes that style. The patio in there
is my contribution. It's big enough to
dance in, and we do dance, don't we,
Wheeler -
Most of the residents in Beverly Hills
like dancing, I find.
Listen to her," put in the " Lord and
Master," w uli a grin " ' Don't we, Wheeler
That's because she hasn't seen me for six
weeks. Some day, when I can spare the
time, I shall really tame this ' Wild Woman
of mine.''
Go away and feed your prize poultry,"
said Priscilla, threatening to throw the
kittens at him. " 1 can tell ' Picturegoer '
all about you."
" If it comes to telling," he said, seating
himself on the grass at his wife's feet, " I
can do my share Do you know that I'm
married to a crook ?
"A movie crook, yes," I replied.
No. She doesn't leave it at that. She
stole my favourite leather cushion to cut
up to make some sort of fancy hat I
nearly went home to mother after that."
"I commenced young," Priscilla Dean
44
THE PICTUREGO&R
APRIL 1922
confessed.
devil of a child."
" Was, was," interrupted her has-
>;md. " Why, she still is." Priscilla
silenced him with candy.
" 1 was on the stage when 1 was
our," she continued. " And when-
ever we were in New York my
favourite game .was sliding down
('.rant's tomb. Used to come home
absolutely caked with mud. But that
wasn't what I was going to tell you.
Alxuit the crook business. Mary (my
mother, Mary Dean) used to say that
only a kindly providence kept me out
of jail because 1 was so fond of hiding
things. Especially anything bright.''
" Yes," put in the man on the
grass. " She must have had that
come-hither look of hers from birth,
mother told me that she was
Hilar with all the companies
th whom she played child parts,
hey used to give her rings and
racelets and lockets, which
lysteriously disappeared. When
Mother asked her what had
>ecome of them, she'd smile
and say she didn't know.
Pity I wasn't there to
take her in hand ! "
" Mother found
out long afterwards
that I'd hidden all my trinkets in
the back of a big leather Davenport
couch of hers," laughed Priscilla
" Anyway, she says so, and I don't
remember. Perhaps it . was in anti-
cipation of my future fate. 1 shall go
down in the annals of the Deans as
the family crook. The I.os Angeles
Detective Bureau took a print of my
fingers when we were filming
Outside the Law."
" Yes," said Wheeler Oak-
Si man. " Not content with
marrying me, she insisted
The " Pris-
cilia Tammy."
that I share her nefarious pursuits,
and made me play ' Dapper Bill ' in
that drama. Hut I've reformed now.
I'm going back to Westerners again
shortly."
By means of stern questioning I
gleaned the information that Priscilla
Dean had always been a tomboy, and
had also played in every known kind
of stage entertainment, from staid
Shakespeare to slapstick vaudeville,
and the gay Folies Bergere in New
York. From the last named, she went
into 1). W. Griffith's studio, firstly
as a dancer in one of his pictures.
Afterwards, as she puts it, " 1 stayed
around doing odd bits, and later signed
on to play in two reel comedies on
the Coast with a new company"
' That was some years ago." Pris-
cilla averred. " Both of us are real
old veterans. Wheeler started with
■ Lubin ages ago. I came out to Cali-
fornia to fulfil a contract, but when
I arrived, there wasn't any company.
It had laded out, quietly, and I was
stranded."
But Priscilla was not daunted.
Neither did she go back to New York.
Hearing that there was to be an
automobile tournament at Ascot Park,
with screen folk acting as drivers, she
went to see the nearest automobile
company about it. She was promptly
chosen to drive a particularly fine
car, and subsequently carried off the
prize for the most beautiful car and
star. When thev asked her to which
APRIL 1922
THE- PICTUR&GOE-R
45
company she belonged, Pris
cilia, \\ hu.se sole acquaintance
with Universal at that time
consisted of a very little
work as an "extra lady,"
gave them Universal.
Of course, I was photographed
at the Park," said she ; " and next
day I saw myself, with car, in the
paper, which called me ' The
Universal Star.' I thought I might
as well sec Universal on the sub
ject ; so 1 went along there. Was
lucky again. Eddy Lyons and
l.ee Moran wanted a leading lad-.
They got me. They also got peeved
with me. and I was fired. Ah me!"
shaking her dark - brown head,
Priscilla Dean was always .icing
fired these days. She didn't worry,
though."
She next played a " vamp " in
Lois Weber's Even .Is You and I ,
but didn't please the powers in
command. Priscilla is a girl o
very strong individuality. Every-
thing doesn't suit her. It didn't
then, and it doesn't now. To-day
she declares she has the greatest
difficulty in finding stories.
Through Solid Walls, The White
Turkey, Why, Uncle ? Mystery of
the Grey Ghost, and The Hand That
Rocks the Cradle were a few early Uni
versals she graced with her presence.
The titles show clearly that she had a
shot at everything. In The Wild Cat
of Paris she acquired her first revolver.
That film, The Two-Souled Woman,
The Brazen Beauty, and Kiss or Kill
established the vivacious little lady in
public favour as a distinct if some-
what wild and woolly character.
" Melodrama certainly suits me best,"
Priscilla agreed. " Especially crook-
melodrama. Let's see. I was The Silk-
Lined Burglar, The Exquisite Thief,
The Wicked Darling, and The Wild
Cat of Paris in rapid succession. I
cried and raged a good deal in each
and acquired a reputation of never
being happy unless 1 had a revolver
in my hand. In reality, I'm happiest
when I'm in a gymnasium, or in an
aeroplane."
Priscilla -this 5 ft. 4 in. bundle of
vigour and vim — deserves her stardom,
as everyone in Universal City unani-
mously agrees, h'rom " Curly Seeker,"
the animal trainer (a special friend of
hers), everyone there likes her. Some
of the oldest inhabitants, remember her
in her small-part days ; others know
her only as the star of Jewel produc-
tions ; but their verdict is just the same.
" A great girl. Pull of pep -and the
right kind ofr pep, too."
Priscilla danced away to fetch
book of stills to show me.
Here " she selected one---" is a
Virgin oj Slamboul photo. My make-
up for that film was the biggest
worry of my life. I just could n 1 !i\
it right. It either photographed
black, or didn't show at all. So. when
I did get it the way Tod Browning
wanted, he wouldn't let me take it.
off. It was a kind of stain, and I had
pointed me out to Tod Browning
1 suitable leading man.
icy were in a motor out at
Santa Barbara, where I'd
been working fur the Ameri
can Company. I remember
Tod Brow ning stopped 1 he
car, and came and spoke
to me about the film. And
I 'list ilia said nothing, but
looked lots."
"Oh, I didn't." Pris
cilia's eyes somewhat
belied tluit state
ment. " It took me
ciuite three months
to get used to his
teasing. The real
reason I married
Wheeler was be-
Hy-
lancl adopted a
ion cub."
Wheeler stood
up to remon-
strate. " That's a
pe r fectly n e w
one," he said.
" Wait a bit.
to stay brown for weeks. The only
one who really liked it was Wheeler."
" I remember. You were married
about that time, weren't you ?
" Yes," grinned Oakman. " She
made up her mind to get me, and
Not to be outdone by Peggy,
/ adopted a fully-grown lion.
But, though I sometimes took
him around on a leash, he was
mm h too restive, even for me,
so I sent him back to the ' Zoo,'
and adopted Wheeler instead."
" I've managed to survive," smiled
Priscilla's husband. " I suppose it
was my fatal beauty. Anyway, every
man has to be vamped by someone
46
TWE PlCTUREGOE-R
APRIL 1922
Prist ill, i can t
iiuifte Jit1/ ■ i ,■•
behave.
or other, and I knew I'd get caught
some time."
Beauty. Nix." Priscilla hastened
to score one. " Hut he's got a good,
kind face, hasn't he ? "
" Tell mc the worst," said Oakman.
They both looked at mc. Caught thus
between (Pris)Scylla and Charybdis,
I evaded the issue by returning to
the book of stills again.
Here was a most amusing picture
The " come
hi/her " look.
taken when the
censors came to Uni-
versal City. It repre-
sented Priscilla cast-
ing a very vampish
eye upon a Chicago
censor who was
jumping on his
scissors. Others
showed the Oak-
mans in Outside
the Law, a crook
story, of course ;
and there were
several beauties
of Priscilla in
Reputation.
A melo-
drama again, "
she said, " but
one w h i c h
gave me two
roles. One
an ingenue,
though a
strong-
minded
one ; and
the other,
an actress who
is addicted to drugs."
both parts Priscilla
She literally threw
into the exacting role of the
and climbed to the topmost
peak of her art. In Outside the Law
she is rather submerged beneath a
series of fights, both in the Under-
world and with the police.
Conflict separated the Oakmans.
Priscilla went to the North Woods of
Canada, and so Wheeler went South
to Mississippi, and starred in Slippy
McGee. Then she returned to Holly-
wood, and he had to go to New York
over Christmas.
" So 1 worked very hard," Priscilla
told me. " Made Wild Honey, in
which I was consistently good through-
out, and not very happy (I don't like
good ' parts much), and That Lass
O' Lowrie's (a Lancashire story). " But
my next will be the part, I think."
She's going to be ' Cigarette ' in
I'ndir Two /'lags, and spends most
1,1 ll1'' spare lime firing otl sentences
111 French at me This from Wheeler
Priscilla denied it, but owns to the
Study of French occasionallv She also
owns to a fondness for all kinds of
athletics, motoring, riding, camping
out, fishing and aviation. She is life
and energy personified, always ready
lor a joke, and her eves are usually
agleam with mischief.
" Wheeler was a ' Grizzly ' during
the war," she announced, which, being
translated, means that he was for
some time in U.S. service. He spent
seven months in France as a member
of Captain Peter B. Kyne's battery,
known as " The Californ'ian Grizzlies/'
Oakman, who is a fine-looking chap
with brown hair and quizzical, brown
eyes, is thirty-two, just about seven
years older than his wife.
" I've freelanced a good deal in
my time," said he. " I was with
Blanche Sweet in A Woman of
Pleasure, then I went to Canada with
Nell Shipman rn Bach to God's Counlrv.
Gee ! we had a cold time out there.
Then came the war, and when I
came back to Hollywood it was only
to be annoyed by that noisy young
lady they called Priscilla Dean.
" She was always up to some trick
or other. Once she lost the key of her
dressing-room, which was the one
next to mine, and broke in through
the window. I suppose 1 ought to be
thankful she didn't turn me out of
mine and annex it.
" Another time the electricians
placed a great coil of wire well out in
the middle of a path, and with a
warning sign which read, ' 2,000
volts.' I noticed Miss Mischief get
busy with that sign. When she had
finished with it, it read, ' 2,000 volts.
Let your conscience be your guide.''
Priscilla owned up to that.
I prepared to bid them " good bye,"
despite cordial invitations to stay for
dinner and dancing. So Priscilla
ordered out her smart dark-blue car
to take me back to Hollywood, and
the pair were engaged in a fresh
outburst of high spirits before I was
out of sight.
Come to think of it, Priscilla Dean's
eyes are her most conspicuous feature.
Memories of her, in all her varying
moods and tenses, may dim and fade 1
one into the other as time goes |
along, but those brilliant eyes of hers, j
beneath their peaked brows, are dis-
tinctly of the once-seen -never-to-be-
forgotten type. I've seen them by
turns defiant and tender, narrowed
in fierce belligerence behind a levelled
revolver, and distended with the
horror that moves movie-heroines to
desperate deeds. On the screen. I
have also seen them when their
charming owner is not screen-acting :
then their brown depths hold an
alluring come-hither-ish-ness that is
altogether delightful. Priscilla Dean's
eyes remain. Like the Cheshire cat's
grin, which remained, you remember,
long after the rest of that remarkable
creature had vanished. v. m.
(APRIL 1922
THE- PICTU RE-GOE-R
47
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48
THE PICTUR&GO&I5
APRIL 192
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I^he month's most beautiful pro-
duction is Miarka, the Child of
u Bear, which was made by Louis
lercanton, whose Call oj the. lilood
is so highly appreciated over hero.
: care has been given to details
t lighting and effect, and the church
enes in the chapel of the Saintes
lanes de la Mer and in the cloister
re both convincing and beautiful.
atural lighting, too, such as that oi
match and the headlight of a ear,
s been used with great effect. It is
story of gipsies, with the late Mine.
ejanc as " Romany Kate, " its prill-
pal figure. Her death scene is quite
masterpiece . there is also a realistic
ght between a bear and a man. Ivor
ovello is quite satisfactory as the
and Uesdemona Mazza deepens
lOd impression she created in hei
ret film, The Call of the Blood. She
cms to have definitely abandoned
reen work; last time wc heard of
pr she was appearing in Rome as a
uuer.
V fascinating circus storv made in
Denmark, The Four Dare-devils
i circus life both in travelling
low and m a tremendous circus lis
hotography is none too good, but the
amatic and ijuito wholesome storv
II compensate. Production is good,
pecially in the scenes showing ring
training and other aspects of circus
life, and which were taken in and
around the real article, not in studio
sets. The ending is sensational, for
the gymnast-heroine, whose partner
lias been won away from her by a
society beauty, fails purposely to catch
him in then trapeze act He is hurled
to destruction far below, and she casts
herself after him. Ernest VVynar, .Mar-
garet Shlegell, Vittorio Collani, and
lleddy I'ord play the four " Devils,"
and Entile Ramcau contributes a good
study as " C'ecclii," the brutal pro
prietor of a travelling circus.
I^ddy Lyons and bee Moran appear
^ in two feature hlins this month.
In Felix (>'/><< y they are not seen for
very long (though they co-directed it),
but in /.,-/ La Lucille they are the
featured stars, and have a very fair
story and fine supporting cast.
Adapted from a Broadway musical
comedy hit. La, la Lucille is bright,
vivacious, and pleasing, and explains
the complications arising when .. rich
aunt disapproves of her nephew's wife
and threatens disinheritance unless he
is separated from her. Gladys Walton,
the Universal star, has quite a small
role here : and Anne Cornwall plays
" Lucille m captivating fashion. The
plot is neither new nor startling, but
the continuity is good, and one mix-up
follows another very naturally. Lyons
and Moran played so well together that
it is a great pity they separated. Some
say this was the result of a quarrel, but
the two most concerned state simply
that the dissolution of partnership was
for business reasons alone.
Avery fine offering conies from
France this month in Friend of
the Mountains, which features Mile.
Madys and Andrew Nox. Scenic ally,
it is strikingly beautiful ; it also
possesses ,1 well-told and convincing, if
rather slight, eternal triangle story It
is well acted too, from the principals
down to the very smallest roles : and
the photography, especially in the
long-shots," is fine. Another foreign-
made feature is The Little Diplomat.
which is a domestic drama in w,
the principal artiste is a tiny fluffy-
haired damsel called Regina Dumien.
She plays providence (and peace
maker) when jealousy and misunder-
standing threaten to separate her
father and mother.
'"TMie early I Cupid the (
1 puncher. Will Roger's April i 8
ing, are practically perfect V
humorous, albeit, homely, philosopher
of the range, and a matchmaker for
everyone but himself, Will is imnn
m the title-role. Naturally, a prettv
THE- PICTUI5&GO&R
APRIL !<
K*W£$>'$n*
^P**^
Corinne Griffith enjoying a
lunt h " on /i>ra:
girl comes upon the scene, and
Cupid " (Rogers) is losl She likes
him too, but'(and here the story is at
fault) she decides, for no really intellig
ible reason, to go to New York and
seek a career Whi< h spins out the
feature to its requisite length Rut.
nevertheless, it is one of the few good
comedies extant thes( days, rich in
incident and detail, with well-directed
scenes, and a laugh in every sub-title.
It is an adaptation of an Eleanor
Gates story, and Helen Chadvvick
plays opposite Will Rogers. If you
like Will Rogers (with titles) you'll
find yourself well satisfied with him as
" (lipid.''
Many picturcgoers will remember
Tih Mi nli~~ a popular French
serial starring Mary Herald, and will
be pleased to renew acquaintance with
this little lady in /.; Hang the Cruel.
This is a sensational drama, the leading
character in which (" l.i Hang ") is a
maker of mechanit al toys, ,i\v\ although
at first he seems ordinary enough,
develops into a malignant and re-
vengeful monster, who perishes in a
deservedly horrible fashion. \!1 kinds
of weird notions of revenge are here,
but, exi epting serial lovers, the feature
will not appeal to many, 'the settings
and photography are attractive, and
Tsin How. the Chinese actor who
plays the title role, is excellent. The
story, however, is de< Ldedly sordid.
Little Miss Somebody, with Mac
Marsh as the heroine. will
remind you a -mid deal of Daddy
I Ong I < l W ■< makes lent
little girl, and is seen quite at her best
as a rebellious little foundling in a
y i i ■ stcrnlj managed orpha n The
story, though conventional, is worked
out with a wealth of humorous and
pathetic incident, and the characters
are lovable Mae Marsh's portrait of
the warm-hearted, torn boyish " Mary
Can,'' who suffers so many trials and
tribulations, is lively and fascinating.
She has, however, many mannerisms
still, and is inclined to jerkiness.
Annie Sehaefer, whom manv will
remember lor her line work in Vita
graph features, gives a characteristic
performance as the Orphanage Super-
intendent : and Kathleen Kirkham
and John Steppling make an agreeable
pair of lovers
Amongst British releases a verv
welcome re-issue is Rock of Ag
with Queenie Thomas in a featured
role. Containing many beautiful Irish
seascapes, good sub-titles, and many
humorous touches, this feature has
a" religious bent ; it is interesting,
though, and a change from the usual
type of dramatic picture The acting
is good and artistic, and the photo-
tography excellent. A feature which
will please Ethel M. Dells verv wide
public is llu Plan oj Honour, a story
ol Indian garrison life. Madge- White,
Hugh Buckler, Pardoe Woodman ami
Luther Miles play the leading roles in
1 Ins melodrama of a man s self-sacnfu e.
A splendid cast appears in The
Great lecident. Resides the star,
genial lorn Moore, there is Jane
Novak, Ann Forrest, Philo McCullough,
Willard Lewis, and " Lefty " I'lynn
\ practical joke and its consequences
is the central motive of the film, and,
had n been treated as pure comedy it
would have- been a good deal more in-
teresting. Ii commences exceedinglj
we-11. but soon degenerates into a con-
ventional and sentimental photopla
I here is much incident — too much-
in places, for much of it does nothina
to emphasise the drama. As til
care-free, rather lazy son of the lo\,
Mayor, and the victim of a practic
joke which turns boomerang-wise upon
its perpetrators, Tom Moore is splendid.
Next to his work comes that of Ann
Forrest, whose emotion is real enou
to carry over quite conventional
stuff. Ann was starred verv shor
after, appearing in Tin Great A ccii
7"*iny and slender (her latest sen
role was that of a child in sin
frocks), Ann Forrest is nothing if noi
energetic. After her clav's studio-work
is ended, she likes best to get into
uat she (ills her " hiking (not
king) rig-out.' This consists oi
khaki breeches, an olive-coloured dra!>
shirt that looks uncommonlv like the
ones that repose in the kit-bags of
Uncle Sam's soldiers, a campaign hat
and heavy shoes made verv high up
the ankle. Then off she goes into the
woods or hills, climbing and tramping
for hours at a stretch If possible,
she will take a blanket along, and tl
wherewithal for one meal, and s
away out there by herself It is
star's way of keeping herself
Anything that means out-of
appeals to Ann.
I^om Meighan has had a weakness
for crook or convict roles ever
since he played in Tin Miracle Man
He makes an interesting crook, though,
although he is not quite convincing. In
The Point of Vieu\ his April release,
he plays one Billy Kane.' a hermit
burglar, w hose uncle, a bookmaker,
dies, leaving him heir to half-a-million
So " Billy," having fallen in love witb
the photograph of a girl which he had
stolen on account of its valuable frame
— decides to reform. As a reward, hi
immediately meets the original of tin
photograph. Coincidence is rathe:
over-worked throughout, though the
latter part of the picture is far mon
entertaining than the beginning. Then
is a fight at the end, and plenty o
lively incident, but the French an*
American characters are permitted t<
understand one another's up-to-dati
slang in a manner that is imp
anywhere but in a film. Sub-titles an
good ; so are ("■race Harmone! am
Jacqueline Logan in the principa
feminine roles.
Constance Talmadgc looks prettic
than ever, and a< ts as well i
possible in the very slight Good lulu
enccs, in which she is to be- seen tfn
month. She plavs a social secretar
to a voting New York aristocrat. «!"
prefers prize tights and poker partie
to the usual amenities of the social sel
It takes five reels before this youn
gentleman discovers that he is in 1c
with his social secretary. Thei
but few opportunities for
though incident is plentiful. The fi
is dragged in, and one feels that i
would never have happened outsi
in iu>
>rc ir
actsiif. I
e figb J
hat i I
tside I
I
APRIL 1922
THE- PICTUREGOE-R
movie, Vincent * oleman, Ned Sparks,
and .1 capable cast support Constance
Talmadge. The photography is good
and clear throughout, hut in some of
the close-ups Connie appears per-
fectly noseless. She has just 'returned
from Santa Catalina [sland, where
scenes for The Divorcee, her new film,
were made
A flippant, nearly naughty, story,
directed by George bit/ma urice.
Paying the Piper features Dorothy
Dickson, one of the prettiest of Broad-
way's noted dancers She looks charm
ing, has little actmp; to do, and gives
the impression of dancing without
actually doing any. Alma Tell is an
effective foil to her. Reginald Denny,
lately seen in Disraeli, gives a very
good performance, so does Rod la.
Roque as a wealthy young waster.
George bawcett, one of the best
character actors on the screen, is also
seen in a satirical role, of which he
makes the most Without being great
in any way for it cannot be called
either lifelike or dramatic — Paying the
Piper has all the usual Fit/maurice
touches, and will please a great many
people. Roth Oeorge 1'it/maurice and
Ouida Bergere are back in the United
States again, where Fitzmaurice's film,
T.hrei I iih Ghosts, made in England, is
about due for release
Buck Jones has a different type of
part to his usual ones in Just
Pals. As a rule, he fights, shoots, and
rescues the abused heroine without
Inning much time to spare for acting.
Here, though, he commences as the
village good-for-nothing. He has
neither ponv nor gun ; neither
is the villain at hand to be
punished ; but, instead, splendid
acting opportunities and much
human interest. Set in a small
Montana village, there is also
a little melodrama and a
delightful romance in Just
Pals, in which the hero and
a charming schoolma'am play
the principal roles. Also, to-
wards the end of the film,
there is sufficient action to
please admirers of
Buck in his more
strenuous moods.
Little Duke R. Lee.
as Buck's thirteen
year - old pal, plays
exceedingly well ;
and Helen Ferguson is
able leading lady
T"*he star of The Sin that was
J_^ His, William Favershatn,
is better known as a stage
actor than as a screen player.
The story is by Frank " L.
Packard, who wrote / hi
Miracle Man. which it slightly
resembles, inasmuch as it deals with
regeneration. The action takes place
in the Far North, ami the principal
character, who has most of the lime-
light, is at first a criminal and card-
sharper. 1 le later assumes the name .and
identity of a priest he finds, as hi *, in
dead. In his new role ol .> d out
preacher, " Two-Ace Artie " In
after a while, actually the believer he
pretends to be, and his gradual reforma-
tion provides an unusually interesting
character study. The film is well pro-
duced and photographed, night scenes
being specially well dun, I u< \ ( Otto'n
has little to do. but looks charming,
and Lulu Warrington plays an old
hag very capabl)
\ characteristic Rex Beach story,
ili- h-on Trad has made a
melodramatii but thoroughly in-
teresting film. The romance element
is less prominent than in the novel ;
the railroad building episodes are
made the most important. Plenty of
action, therefore, is assured, and the
mob tights, when rival gangs attempt
to wrest the right-of-way from one
another, holds many thrills. The
Alaskan exteriors were made on loca-
tions chosen by Rex Beach himself,
who personally supervised this pro-
duction Wyndham Standing, Thurs-
ton Hall, and Reginald Denny have
the principal male roles. Standing
aits well, but his role is not entirely
suited to his personality. Harlan
Knight is good, and Alma Tell is a
pretty if passive heroine. Some won-
derful shots of ice breaking up in
the Alaskan rivers are one of the
features of this film.
G
reville, a deserted town near
Dover, N.J. (U.S.A.), was bor-
rowed from the Railway
Company who own it by
the Rex Beach contin-
gent— some thousand
Dorothy Dickson, star
of " Sally," is seen this
month in " Paying the
Piper."
WHY envy your Film Favourites
their splendidly developed
bodies, their easy grace and con-
fidentstep ? This is Tar gi ly a matter
of training, and by im ans of i few
simple < xercises daily you can work
wonders with yourself Whatever
your age <>r sex you will benefit im-
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by taking up my fan s Course.
Apply to mo personally (usii
below) and I will sei tl free < py of
my interesting booklet, ' Physical Culture
Simplified," which explains how [In
be accomplished. Writ. :
| EDWARD ASTON g
THE ASTON INSTITUTE
OF PHYSICAL CULTURE LTD
109, St. Pauls Chambers,
Ludgate Hill, London, E.C4
--- COUPON n
To Mr. F.DWAR1) ASTON, ic . St.
Chambers, Ludjrate Hill, I >
<cn.l me fi
" Physii al < ultu
particulars of your Com
Name.
52
THE- PICTUP&GOE-R
APRIL 1=22
Jean Angela
M Franceschi and Georges Melchior, in a scene from the great French film,
" L'Allantide
strong for the purposes of filming.
Gfeville had been " (lead " for over
nine years, but its resurrection was
a matter of a very few hours. Its
houses, long empty and dust -covered,
were re peopled with picture-actors, its
main street was re-lit, re-paved in part,
•nd galvanised into life once more.
Stores were reopened at lightning speed,
even officers of the law were elected,
and the town looked much as it used
to look in its pioneer days. After
the scenes were all finished, the
" population " disbanded, but, oddly
enough, it took far longer to evacuate
the town than to till it.
I"' lsie Lerguson made a great success
-^ as " .Carlotta." the heroine of
Sac red and Profane Love, on the stage.
But Arnold Bennett's novel has been
made into a poor screen play. The
theme, a highly-strung girl's hero-
worship for a pianist, has not been
treated in a realistic fashion, and
opportunities for real dramatic situa-
tions are slurred over, so that the
whole becomes slow and artificial.
Both plot and characterisation sutler
from artificiality. Conrad Nagel plays
well as the pianist, but Tom Holding
is decidedly wooden as an ardent
admirer of " Carlotta." The elaborate
sellings and ultra-smart costumes of
the heroine air somewhat inconsistent
too. Smaller parts are played by
st Stanley, Winifred Greenwood,
Howard Cave, and Helen Dunbar.
rPhe Cast is the chief attraction
1 about '/'<>• Please One Woman,
which is a Lois Weber production. It
is also directed very well, though the
plot is not nearly up to Lois Weber's
i i.i I standard, and its development
is too overdrawn. Very few original
i ui hesare provided, When To Pit i
One Woman, which is a domestic
drama, was made; most of the players
in it were " unknowns." Most of
them have since become famous.
There are Claire Windsor, George
Hackathorne (lately starred in The
Little Minister), Mona Lisa (who has
since " vamped " her way well to the
fore), and Gordon Griffith, whose Son
of Tarzan exploits gave him world-
wide fame. Edward Burns, too, the
leading man, has done much good
work of late
' I "om Mix's April release is The
X Texan, a very obvious story,
but with incidents enough to give him
opportunities to show his undoubted
skill in the saddle and with the lariat.
There is a big rodeo, in which Tom
as " The Texan " wins all the events.
'The • film contains any amount ol
stunts and thrills, and the humour is
quite infectious. The backgrounds,
too, are effective, and Tom Mix otters
a good deal of propaganda for 'Texas.
Although the conclusion of the stor)
can be easily guessed long before it is
seen, yet Mix and his company,
which includes Gloria Hope as the
heroine, are first rate.
A nother play that misses fire si
J\. what as a film is Cousin I
some-
Kate,
but Alice Joyce's personality and
performance as the heroine atones a
good deal. Ethel Barrymore starred
in this role the second time the play
was revived in New York. 'There arc-
rather too many sub-titles m the film,
but the dialogue meant so much in
the play (the story is exceedingly
simple), the best ol it is thus repro-
duced No better "Cousin Kate"
could have been found than Uice
Joyce, she portrays perfectly the
whimsical character of the woman
novelist, whose cynicism is unR on
the surface, and whose real nature
is one ol gre.it feeling and sympathy
Gilbert Emerj is an effective lovc^
and all thi oth< pai ts are well played.
The producer was Mrs Sidnc\ Drew,
till recently a tremendously popular
screen player, and it certainly does
her credit.
IT B. Warner has an excellent
I 1. feature in Felix O'Day, which
gives him a good part, and is fault-
lessly directed (by Eddy Lyons and
Lee Moran). The story, which con-
cerns a lovable sportsman whose
friend betrays him in both business
and love, is not very new. but ;,s-
very interesting. It is told well,
and the climax is given an original
twist, in that, instead of bringing
hero and villain together in a grim
fight, and killing of the latter in the
more usual way, the villain escapes,
only to meet death in dramatic
fashion a little later. Lillian Rich
and Marguerite Snow play the prin-
cipal feminine- roles. Marguerite Snow
was a well-known star a few years
ago. she and James Cru/e being great
favourites as star and leading man.
She retired for awhile, and this is her
first film since her return to movie-
land.
As the hero of Felix O'Day, H B.
Warner finds employment at a
small antique shop in New York,
where- he is looked upon as an expert
in values Warner needed little
prompting for this part of his business,
for it is well known that the Pathc
star is a real expert in these matters.
His Hollywood home is a shining
example of antiques of all kinds, for
he has been an ardent collector all
his life Some of his treasures, like
the ihair he acquired in France,
which dates back to a year or two
before the Revolution, possesses ex-
ceedingly colourful histories. H. B.
Warner has travelled a great deal,
and bought much of his prized collec-
tion during his tours. He has some
exquisite and valuable old china,
many tapestries, and a few curious
paintings.
Sessue Hayakawa is seen as an
aristocratic Chinese youth in
Where Lights are Low. He is as good
as usual, and his sincerity and pathos
helps out an entertainment which is
entirely devoid of humour. Pathos
and sentiment, however, abound, and
there is also much colourful action
and suspense. With the exception of
Gloria Payton (the heroine), the whole
cast is composed of Orientals. Gloria
Payton is an unconvincing Chinese
girl, and is also far too lavishl) made
up. In the early reels ol II ghts
an Low, tlie impression given is that
some of the scenes are obviously
" planted." but the finale is vivid
and unusually convincing with its
whirlwind hatchet tight. Sessue
I la vakaw a spec ialises in Chinese si ones
APRIL 1922
THE- PICTUR&GO&R
CORNS. CALLOUSES. BLISTERS.)
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54
THE- PICTUR&GOE-P
APRIL 1922
.Siiiiih Bernhardt in Ike first Famous-Lasky feature,
years ago.
Queen Elisabeth," produced ten
this year, although he looks always
tin- Japanese Ik- is In some of his
later releases, his wife, Tsuru Aoki,
will be once more seen as his leading
lady.
1)icturegoers have many "super"
films to k>|/(' upon these days.
A.fte'i / \tlanlidc, the French mastei
piece shown .11 Covenl Garden, comes
odor a from Italy. This is a genuine
super " in magnificence and photo-
graphy alone. The Story, as usual
with Continental films, is a tragedy
of Rome in its last days as a great
Empire. Tremendous crowds move in
the big scenes, and there is such a
whirl ol spectacular effect that one is
apt to lose the thread of the nn-
deniabh good story in vvondermeni at
the mi : Th< dm i is taken
from Vicionen Sardou's play of the
true name, and Rita Jolivet is a practi-
i perfei i exponent ot i he t it le role.
uccio 1 (iancini plays " t he Empen u
Justinian," and Renato Maupre makes
strained and ardent revolutionary
lover The film was dire< ted by
i orrtmendatore Arturo AmbrOsio, and
ranks easily first amongst the spei
tacuiars of the year.
Allen Holubar wrote, as well as
directed, Once fo Every Woman,
which holds one's attention from the
mi^1 sub-title until the final fade
out. I he central character, played by
Dorothy Phillips (Mrs Allen Holubai
is a country ^ul whose remarkable
voice carries her to stellar heights in
the world ol music. In her SU< ( ess she
forgets hei home folks, but later,
when her world turns its back upon
her, it is to t hem she flies for fori
and latei happiness, Qui ii iplc
theme really, it emphasises the curse
ot ambition (its original title was
Imbition), in that it destroys its
possessor's sense of humanity. Rudolph
Valentino is seen in a supporting
role, and Elinor field and Robert
Anderson are both effective in their
roles. The acting and production
are alike excellent.
'dPhe admirers of Pauline Frederick
J who consistently uphold their
idol's versatility will be more positive
of it than ever when they have seen
her in The Mistress of Shenstone. The
star gets righl awa\ from her dramati<
fireworks, and relegates even emotional
interpretation to the background. Her
portrayal of the sweet and womanly
" Lady Myra [ngleby " is different
from any ot her previous roles and
thoroughly interesting, for it .lmvcs her
every chance of show inn her rare
dramatic ability. Most people have
read Florence L. Barclay $ novel,
from which the story is taken ; it has
made a quiet picture, with beautiful
backgrounds ol cliff and ocean and
vast and picturesque country estates.
Roy Stew.ut has left Ins horses and
Western roles to play the hero, the
man who accidentally killed the
husband of the woman he loved
J 7" nid Bennett's screen appearance
^ are not very numerous. This
month she acts splendidly as the
young wife in Her Husband's Friend,
the full story of which appeals in the
May Put tires." The plot has a no\ el
idea, and some good sound argument.
I he ' harai tei isation is quite logi< al,
too. bul tin' whole thing sutlers from
1 1\ i i emphasis , the directoi has simply
piled on the action to such an exti il
as to make u anti-climatic. There is
also rather too much realism in the
accidents," which are, however. v. 1 v
thrilling. The photography is notably
good, and the exteriors charming.
I i ni (ha I lei ton and Mae BuSCh I
the supporting cast.
There is one fames Oliver ( urwood
story <lue lor rele e in / .obel,
which stars House Peters and Jane
Novak, it is a sentimental drama,
the scenes of which take place in the
far North-West. The scenii effects
arc magnificent, and there is plenty
of rapid action, a blizzard, and some
rarely beautiful sunrise effects. It
seems rathei •> pitj that the scenarist
was obliged to kill off a quite likeable
husband in order to allow the hero,
a North West Mounted officer, to win
the lad J of his ,i n, i i ions. Jane Novak
is an ideal James Oliver (urwood
heroine, and her .appealing feminity,
blonde loveliness and able acting
make her " lsobel " a delightful study.
Ten years ago last March the first
Famous Players film was made.
It was a five-reeler, Queen Elizabeth,
with Sarah Bernhardt as the Queen,
and in those days of ioij it made
everybody sit up and take notice. The
idea of Famous Players at that time
was. as their brand implied, to screen
the best known stage favourites, and
Adolph Zukor, who founded the
company, was alternately derided and
pitied when his intentions were first
announced. Zukor had not been in
America very long, but In- was one
of the' lirst to perceive the1 endless
possibilities of the then crude in-
dustry known as " the pictures."
He took his ideas on the subject to
Daniel Frohman, and the outcome
ol their conference w as Queen Elizabeth.
Famous Players incorporated with
I askys in 1916, Paramount, Artcraft,
Realart, and Bosworth more recently,
and now, on its tenth birthday.
Paramount Pictures, as the company
is called, distributes its various pro-
ductions all over tin civilised world.
V fountain-pen no larger than the
pencil that is usually found in an
ordinary note-book is the latest novelty
of to-day. This is the Viala Lilliput,
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>RIL 1922
THE- PICTU RE-GOE-R
55
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f/a/Aacja
56
THE PICTUPET-GOE-P
A PR I!
(HI SAGA Or SJOSTROM
himself (though not myself) by ob
serving that the weird under-the-sea
: like most of the others, too
made in the studio
Uso thai the man who photo-
graphed it was in the next room. lie
was. I saw him when we left. A
grave, bearded individual who looked
as though he took life very seriously
indeed.
Seriousness, amounting at limes to
tragedy, is the keynote of most of
the Si andinavian productions. About
Victor Sjostroin's there is also
a} Strongly religious tinge;
stories having this trend ap-
peal to him most.
As an actor, he has hardly
an equal. At will, he makes
himself young or old ; he can
be humorous, too, but emo-
tional work is his finest
achievement. No better ex-
ample of this can be found
than in his " David Holm
in his favourite film. Here
his powers of characterisation,
too, have full scope, for,
besides his own masterly
study of " David," he shows
us a group of characters who
appear to be living their own
ai tnal lives rather than acting
in a screen play.
Love's Crucible, his latest
completed film, is an original
story, written for the screen
by Hjalmar Borgstrom, and
took him a bare three months
to film.
" But fully a year was
spent upon preparatory work.
It is a love story of Renais-
sance times."
" Any particular place ? "
I queried.
" The Kingdom of Romance,
perhaps," was the reply.
Judging by the stills 1 saw,
this Love's Crucible must be
a very beautiful production.
Sjostrom is producer only
this time, and the principal
feminine role is played by
Jenny (or as Sweden more
prettily pronounces it, Yae-
nie) I lasselqvist. She is . well-known
to Londoners as a dancer, for she
has been seen here both alone and
with the Swedish Ballet, the only
other Swedish art besides films to
penetrate to London.
Good stories," Sjostrom averred,
" are many. But those having a
world-wide appeal are not easy to
procure."
lie was due elsewhere to inspect a
new projector, he announced, a little
later. A projector, being a machine,
docs not ask questions, hence Victor
Sjostroin's slightly relieved! air as he
said " Good-bye." And so they de-
parted the Kind-hearted One, the
camera-man, and tin Maestro of
moving pictures
I did not ask VictO] Sjostrom aho
his hobbies Nevertheless, I can un
tatingl) put it upon record thai
being interviewed is not one of them.
I oi . although we appeared to be
chatting amiably enough. I felt that
Sjostrom might just as well have beet
away m his beloved Sweden and
the interviewer somewhere in the
South Sea Islands. Or anywhere elsi
equally warm.
Because I should require at least a
year to induce Victor Sjostrom to
talk really talk aboul himself and
his work. It would, however, be
time exceedingly well spent. j. L
Charlie Chaplin and Anna Pavlova, wht> has been playing in
California. The photo was taken at the Chaplin studios.
GRIFFITH AND THE G1SHES.
before, Do you think 1 will fail to
take advantage of the opportunity ?
Dorothy Gish jumped from comedy
to tragedy in this feature, portraying
the highly sympathetic character of
the little blind girl. Creighton Hale
has the comedy moments, and, the
fight for the final fade-out rests be-
tween Morgan Wallace and the
talented, exotic Schildkraut.
Mr. Griffith showed me the village
street in old France -Mamaroneck —
complete in detail to the last cobble-
stone. Many of the mob scenes were
staged here, those spectacular mass
effects that have placed D. W. second
to none the world over.
DIANA OF THE CROSSWAYS.
{Cpnfivuetf from ■•''"<> ■'* <
resemblance to Mrs Norton, tl
original Di;
I learned that William Mereditl
son of the novelist, is helping
supervise the production. He toi
(lift and his company to the origin
Crossways," and went with tht
over the various locations dealt wi
ill the novel.
The cast of Diana has Lay Com
ton in the title-role; Fisher White
" Lord Dannisburgh " ; J. R. Toz
as " Augustus Warrick " ; Hen
Victor as the " Hon. Peri
I »a< ier " ; Ivo Dawson .
Sir Luke Dunstane ; 11
vey Braban as " Radworth '
Harding Steermajn ;■
Tonans " ; Joyce Gavm<
as " Lad}- Emma " : Pamt
Cooper as " Princess Tarvli
and Hope Tilden as ' Ma
Paynham."
Denison Clift is a charmi
fellow, and chatting wi
him I forgot all about t
Mormons But when 1 settl
down that evening and tri
to read " Diana of the Cro
ways," the sense of t
wrongs was brought hen
to me afresh.
When I had written
above, I carried this arti
to the Editor, and he liked
not. " You should have wij
ten it in George Meredit |
style," said he " Have ypr
read his novel closely ? " T
answer was in the negati
" Do you intend to re I
it ? " asked the Editor.
Life," T assured him, 's
full of uncertainties. "B,
believing as 1 do in the d-
trine of free will, I may tit
that whilst I am master
my fate and captain of t
soul, I do not. Moreover!
have an appointment 1*
morning."
" Where are you going
said the Editor.
" 1 am going," I repl 1,
" to the trade show |
Trapped by the Mormons.
{Continued from Page n.)
told me that Lillian (1
and away the prenre
He
was far
actress of the silver sheet,
photography he considered
only to story, that Orphans oft
Storm had taken longer to n U
than anything he has ever doi-
with the possible exception of «
tolerance — and, startling stater "•
this, that anyone can act who
an " actor."
If I were picking an arti-
breathc reality into the romanc cd
eighteenth-century France, I sli Id
not hesitate in my selection
same David Wark Griffith. The «
is as big as his ideals. m H.
>RIL 1922
THE- PICTURE-GOE-R
57
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1922
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j8
THE PlCTUf2&GOE-R
BEHIND THE
There is no jealousy in their make
up.
I went into the waiting-room mas-
querading as an actor.
" What a lark ! " I thought.
In three minutes 1 had changed ray
mind.
They didn't know me from Adam.
But my presence there was enough
for them to take me as one of them-
selves
In a trice they were telling me about
something " Old Sid " had an order
for that morning.
I am not sentimental, but presently
their friendliness wrought upon me
o that 1 wanted to jump on a chair
and confess that I was an impostor—
merely a writer come to spy upon
them, but that it was all off, and that
they were the finest people in the
world. For if I went to laugh, I
stayed to love. And I think it must
be the same with anyone who is lucky
enough to penetrate into Sidney
Jay's waiting-room.
A casual glance at their weather-
beaten faces or their travel-
stained clothes may depress you.
But depression will vanish when you
behold their tight upper lips and the
courage in their eyes.
Are they down-hearted ?
A thousand time no !
They are capable workers, too.
Expert craftsmen every one.
The kinema has no use for amateurs.
You cannot, by a course of lessons,
make up for the teaching of ex-
perience. You cannot by any magic
bestow the wonderful gifts of tem-
perament and imagination, which are
developed only by long practice.
An inner doorway opens.
Instantly the air is electric !
A clerk surveys the waiting crowd.
It may be a call for a hundred
people.
" Man to play workhouse official,"
says the clerk. " Sam, you'll do.
Man to play young doctor. Tom,
come on. Man to play dead body.
Bill, you're like it. Girl to play
slavey. Daisy, you'll manage that.'
Daisy, Bill, Tom and Sam edge out
of the crowd. They get their instruc-
tions, and within the minute they
are hurrying off to their studio.
They have got a job.
It may be only for the day, but a
day is a guinea, and guineas are few
and far between.
KINEMA SCENES.
[Qontbmed from P"g' 1O1
Tluv help to tide over those heart-
breaking times when, " Nothing doing
to-day, old boy " is the only message
that awaits them.
The clerk disappears.
Before he closes the door behind
him, let us follow.
If the outer apartment is the room
of adventure, this is the room of
achievement.
The first thing we note is the con-
stant whirr of telephones.
A producer is calling up to demand
immediately something which you
would think it impossible to get in a
lifetime.
I shall say something of these de-
mands later.
A clerk is ringing to say he has got
such-and-such, and will so-and-so do
for the other parts.
Everything is confused as the build-
ing of Babel to the onlooker, but
everybody seems to have a job and
to do it
I verily believe that if Sidney Jay
were held up at the point of a re-
volver and the telephone went he
would answer it and take the conse-
quences.
His motto might well be, " Any-
thing anytime," for neither tire, flood,
nor earthquake would stop him
carrying out an order.
In this room of achievement are
stars in the making— those young
people of talent whom we wake up
one day to find famous — those players
who are rabidly making England a
formidable competitor of America.
Here you may meet Phyllis Shan-
naw, who made a hit in The Call of
the Road ; Margery Meadows, {who did
great work in The Rotters ; Joan
Lockton, of Miss Charity ; Zoe Palmer,
from The Black Tulip ; Faith Bevan
from Money ; and Kathleen Vaughan
from The Prince and the Beggar
Maid.
You may meet little Norman Pratt,
the wonder boy of the kinema.
He will tell you that " Uncle Jay "
is the " best agent in the world,"
and if you ask him to name the next
best he will tell you he doesn't know
any other !
This is a joyful room, for all its
bustle and business is framed with
laughter.
And now there is the Sanctum.
Here the fixed stars of the film
APRIL
firmament come to put their famou;
names to contracts, which presently
will result in pictures which wii
delight millions of kinemagoers.
I met Gertrude McCoy and Lewi:
Willoughby, both signing on to go fa
Holland.
At other times you might see her
Fay Compton, Zena Dare, Evely:
Brent, Renee' Kelly, Mary Odett'
Phyllis Titmuss, Matheson Lang, Miltoi
Rosmer and Stewart Rome — peopl
who have not only arrived but wh
have stayed-— whose names are simpl'
household words — whose features ar<
familiar to millions Such is the powe
of the film's magic circulation.
And now I promised to tell vou
some of the orders which Suln<
Jay has had to supply.
Here are a few :
A man to drive a racing car and nil
into a wall at sixty miles an hour.
The biggest dog in the world-
guaranteed not to bite !
A fifteenth-century castle with'
moat, with just twenty-four hour* I
do it.
A crowd of 25,000 people, again a
twenty-four hours' notice.
A regiment of trained soldiers
A " cross between Sir Henry Irvin
and Charlie Chaplin."
The most beautiful girl in I.o-ido
The fattest woman in London.
A one-man band.
A " Punch-and-Judy " show.
A complete circus.
The Coronation Royal harness froi
Buckingham Palace.
A new-born baby. " with expenen
of acting for the pictures."
A man to jump into the Thanv
in December.
Did he get them ?
Of course, and a lot more equal
difficult.
The one-man band almost stumpt
him, and his reputation was hangii
by a thread when a musician strui
up in the street outside his office dot
The man to drive the car was four
without any difficulty.
The " Punch - and - Judy " she
meant a journey down Commerci
Road after 10 o'clock at night.
The man to dive in the Tham j
was the biggest " shag " of all, t
cause it was well known that the act
engaged for the part had dived on
and had pneumonia ever since.
Nobody would volunteer, so Sidn
Jay went himself.
" Anything anytime ! "
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APRIL 1922
THE- PICTU RE-GOE-rS
59
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I will forward 1/6 111 payment {or return box) within 7 days.
The shade I prefer is
Name
Address
Date .
60
THE- PICTUf2ErGOE-f2
APRIL 1922
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never before walked the earth and
a babe who was the grandest and most
wonderful miniature man in England !
For, son know, even screen idols are
sometimes just very loving husbands
and rioting fathers and that's wh\
they sometimes get a bil worried
about being burdened with those
laurel wreaths.
Hut, apart from these small em-
barrassments which lurk over the
private entrance to the leading man's
door of life, his lot is a very interesting
and exciting one. Professionally, he
is the saintliest of mortals, for a
scenario invariably calls for him to be
stroii',;, noble, handsome and loving.
But even the leading man encounters
unpleasant, terrifying and embarrassing
experiences as do all the rest of a
studio fraternity in the cause of
" the pictures."
In my collection of true anecd ites
about famous film men, there are many
that' I should like to relate, but only
a. few that the editor will give me
space for.
On a certain sunny morn a pro-
ducer decided to photograph a scene
in which the leading man had to
meet one of the film " rogues " who
was, for him purposes, pursuing the
lovely heroine. The L.H. didn't like
that rogue she was frightened of
him, and it was the hero's business to
give him more of his elbow power
than nice men usually part with in
normal circumstances.
Everything went well at rehearsal,
and the scene was all ready for the
order, " take !
Warming to Ins job in the excite-
ment of the moment, the hero pounded
furiously at the villain, eventually
getting him a beaten and dishevelled
figure prostrate on the floor.
" Good ! That's splendid ! "shouted
the producer, and, as the camera
ceased to click, the hero straightened
himself up and was about to re-
adjust a somewhat disarranged tie,
when, horrors ! he saw that his right
hand was covered with a dark red
fluid ! He went dizzy with the horror
of it, closed his eyes to shut out the
vision of the poor, mangled figure on
the floor who must, surely, be dead
by now ,i\i'\ then opened them again
to rind the " villain " smiling sweetly
at him with an apologetic air.
" So sorry, old man," quoth the
rogue, " I forgot I had the wretched
red ink in my pocket and the cm k
came out. One of my wife's fads.
red ink, old chap. Hope 1 haven't
spoilt anything."
And t lie villain was a long time
grasping the reason for the leading
mans sudden and unusual indulgence
in a swoon '
A certain famous American star,
who is noted for his retiring and
modest ways in the studios and
amongst his unseen admirers for his
mating and convincing perform-
ances on the screen, once made a
rather embarrassing faux pas. He
was supposed to be the youiu
of a beautiful wife who had
hi ;b. ii.-l
u ei ' l\
presented him with a baby lu>\ The
baby boy had been "borrow,. I
from an obliging neighbour for the
scene, and he was placed in an
elaborate-looking col The young
husband had to enter the room, kiss
his wife, then humbly ask permission
to take the babe from the cot and
nurse it. The proud (and legitimate)
mother of the infant was standing
behind the camera watching the
artistes. The cot was of the " all-
round-alike" fashionable variety, which
probably accounted for the young
and ignorant " father " taking the
child into his loving arms upside
down, and gazing fondly at small
pink toes, the while a little round
head dangled dangerously in the
vicinity of his thighs ! He confessed
that he could have tolerated the
amused chuckles of his fellow-artistes,
but says he will never forget the out-
raged voice of the rightful mother
shouting, " You brute ! Can't you
see you're nearly strangling the poor
child ? "
An amusing experience befell a
s; reen hero who, in the course of his
duties, rescued a drowning heroine.
The lady had only been playing for
the films a few months, and then she
had to do it secretly, for her father
strongly disapproved of her joining
the film profession. But it happened
that, on the very day planned for
the " rescue," this particularly annoy-
ing papa was seated on the river
bank under a tree, indulging in a little
siesta— and the producer chose a
spot near by for the taking of the
scene. The camera was, as it usually
is when possible, hidden from view,
and the scene was proceeding very
nicely (the heroine all unconscious
of the proximity of papa) when
papa spied the damsel ;n distress,
and was an eye-witness of the noble
" rescue ! " When the girl saw her
father she flashed a mute appeal for
silence to the hero, and endeavoured
to keep the producer and camera-
man away from the scene. The grate-
ful papa begged for the name and
address of the " rescuer." And next
morning he received a cheque for
fifty pounds, " as a mark of my
deep gratitude for your noble action
of yesterday ! "
He naturally felt guilty and a little
ashamed, and begged the actress for
permission to return the cheque.
But she had a much better plan.
" Why ! the naughty old man said
horrid things about you, really -
couldn't admire any young man who
pencilled his eyebrows and really
couldn't make out why you risked
your life for me ! If you hand that
cheque over to me I can pay my
milliner — and you'll save dad fifty
pounds and, how's that for ' con-
science money ? ' "
Ah! "Uneasy lies the head thai
wears a crown "■•• of laurels !
APRIL 1922
THE PICTUREGOtP
6!
Your money refunded
if not delighted.
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Prices and particulars of
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J.C.AKESTER
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62
THE- PICTU H2E-GOE-P
APRIL 1922
¥
WHAT DOS
YOUTHIW
Your Views &Ours
HERE'S an editorial announce-
ment that should bring joy
to the heart ot every picturegoei
next month's issue oi tins paper,
published on May
. I Treat i , will be a Special
in Store. Beauty Number,
with a two-colour
photogravure cover. 'THE PIC-
TUREGOER" has been hailed
everywhere as " the most beautiful
s< reen magazine in the world," but
next month's issue will be far in
a<l\ an< '• ol anything we have yet
published. From the two-colour
photogravure cover— an innovation
irt magazine printing to the lavishly
illustrated editorial pages, which
will be printed on superfine paper,
the whole issue will be a thing of
beauty and a joj for ever. Better
order your copy in advance — you
will never forgive yourself if you
miss the May " PICTUREGOER."
" \X7HY is it that the latest
» » super pictures are shown
only in London ? " a disgruntled
readei wants to know. " With the
'exception of Way
I Wail From Down Fast, which
the Provinces. I understand is
coming to the
provinces, the ' star ' films, such as
The Glorious Adventure and The
Thret Musketeers, seem to be for
London showing only. Is there no
hope for film fans in the country :
Don't worry. The big pictures will
reach the provinces in due course.
The London special presentations
are for advertisement purposes :
they serve to
whet provincial
appetites.
" T THINK it
-* is about
time that the
ever -increasing
Objects to
Collections,
application for
i ollections in
picture - thea-
tres should be
stopped. Al-
though if is
rather a strong
term to use,
I consider it is
a form of black-
mailing the pa-
tron. Lor in-
stance, it takes
a very strong-
minded man or
woman to re-
fuse to give a contribution in a
place of amusement, and I' am of the
opinion that the picture - going
public resent being placed in such a
position. I do not mean they resent
giving a contribution to a good
cause, but it is against the theatre
their objection lies. Would a shop-
keeper allow his customers to be
pestered by collections ? Certainly
not ; and if it comes to that, the
kinema proprietor is a shopkeeper
selling amusement. I propose that
collecting boxes be hung in the
vestibules of kinemas. By doing
this it Incomes voluntary, whereas
the shaking of boxes, or the taking
up of an announced collection, be-
comes for the patron almost com-
pulsory. It is blackmail, and the
sooner it is stopped the better it
will be for everyone concerned.
What do you think ? " Shirley
Dentist (Southampton).
I AM afraid that I, too, am a
pessimist, though by no means
such an extremist as your March
correspondent. Films as a whole
undoubtedly are
Arc Films improving ; and
Improving ? indeed, consider-
ing the develop-
ment in technique, this could not
be otherwise. But the so-styled
' super-films ' are far behind the
standard attained by their prede-
cessors. Intolerance and The Birth
of a Nation are still universally ac-
knowledged to be the two best films
in. el vet both were produced
during tin movie ' Middle Ages
/). //.' T. {London, 11
INHERE is much controversy
at the present time as to
whether pit lures are harmful to
children. In some case-, the answer
is an emphatic
The Child and Yes, but there are
the Kinema. many films which
are both instruc-
tive and moral. I have just seen
A. E. Coleby's splendid production,
The Fifth Form at St. Dominic's,
and I thank, him for putting before
the public a film with splendid morals
and containing plenty of harmless
fun, coupled with excitement and
beautiful English scenery. I think
this is another step in the right
direction, for no mother or father
need be afraid of their children seeing
this film. Although produced from
a school story, I was surprised to
sec how it attracted the grown-ups —
many were turned away unable to
get admission." — A. T. (Ipswich).
WE should like to express
our views on the subject
of the greatest emotional screen
actor. Without doubt William
Farnum has most
They Arc claim to this title.
Nine. One has only to
call to mind such
films as A Tale of Ttvo Cities, Les
Miserablcs, If I Were King, and
Riders of the Purple Sage, to find
therein all that is finest and best
in his splendid portrayal of these
immortal characters. England's
finest actor is most certainly Henry
Ainley, who is the only one who
can be compared with William
Farnum." -The Nine Mixites.
M
Prologues.
ANY good things come from
America, but the film pro-
logue is not one of them. I have seen
several of these prologues at special
presentations of
Doesn't Like different pictures,
and 1 was bored
by them all. A
good picture can stand by itself,
without any outside aids — good
music, of course,
excepted - and
I wish picture
theatres would
cut out these
prologues and
get on with the
pictures ! " — R.
C. (II a m m c r-
smith).
Prologue-lovers
may write to
" The Thinker, c.o.
" Picturegocr," 93,
Long A« re. London.
W.C.2.
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ft
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CAN YOU DRAW ?
The Associated Fashion Artists, com-
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Fashion Drawings by one of our pupils
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PRINCIPAL STUDIO 97,
ASSOCIATED FASHION ARTISTS,
11, New Court, Lincoln's Inn, W.C. 2.
&
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Name
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THE- PICTUR&GO&R
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Price £ 5, carriage paid. Caah with or den carriage taid
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In the interests both ol
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IVY 1922
THE- PI CTU RE-GOE-R
' ' Wash ing fi n is lied, Mother? * '
'Yes, and Dinner is Ready!**
yet the wksklrio; out of the way before
the Children come home to dinner I
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THE- PICTUR&GOE-R
i in 111 111 m in i i.i LU-.
MAY 19:
""^
Perfect Harmony
" Soft stillness and the night become
the touches of sweet harmony."
THIS evidently is the opinion of Mr.
and Mrs. Frank Mayo, the popular
Universal Stars, of whom we here catch
a glimpse in their beautiful home.
The harmonious blend of choice
tobaccos used in " Turf " Cigarettes
makes them the favourite brand of
many famous Film Stars— as indeed of
all smokers who appreciate a thoroughly
good Virginia Cigarette. The secret
lies in the blend, and that is why you
never can get a Brand that is " just as
good " as " Turfs."
Ask for
TURF
CIGARETTES"
" Turf ' Jubilee are 20
for 1 /-. Ask for " Turf "
Derby (20 for 1/3) if
you like your cigarettes a
iittle larger, and "Turf
Big (20 for 1 /5) if you
want the largest size.
-J^%?.
5S>
V,Y 1922
TWE- PICTUREGOE-R
A PERMANENTLY WAVED HEAD OF HAIR.
FASHION
DRAWING
'T'HE continual change in present-day fashions
■*■ creates a great demand for men and women
who can draw and design fashions. Fashion
drawing is a profession where big money is wait-
ing; for those who have any aptitude at all for this
branch and all branches of COMMERCIAL ART.
Many of our students are now earning large
salaries . . . several have even written us that
they have EARNED MONEY WHILE
LEARNING.
Read this testimonial : —
Upper Tooting, London, S.W.
Dear Sirs, yd April.
I write to you to express my entire satisfaction with
the teaching I received at The Comntercal Art School.
The School's metho.t, of training the student to
draw correctly without any model for all Branches of
Commercial Art is in my opinion excellent I am
pleased to say that since I left this School I have
worked for : — The " Daily Chronicle," Messrs. Derry
and Toms, Selfridges, Peter Robinson, etc., in fashion
drawing. Believe me, yours faithfully,
{Mr.) M. L. CH ALAND.
To succeed, the Student needs the latest and most up-to-
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JAY 1922
THE- PICTUR&GO&R
CONTENTS:
FRONTISPIECE :
Claire Windsor and Bill.
A MAY DIARY
GOLDEN APPLE GIRLS -
Beauty on the Kincma Screen.
10
If.
ADONIS UP-TO-DATE
Tyt>es. of manly beauty.
THE SEVEN AGES OF BEAUTY 18
Posed by Famous Kincma Stars.
THE CRAFT OF THE CAMERA \'>
Finding Beauty's face-value.
CUDDLESOME KIDDIES - • -23
Beautiful screen children.
BE BEAUTIFUL 24
Famous film stars point the way to perfection.
HANDSOME IS AS HANDSOME
DOES - - - - 26
Some screen favourites.
ART GALLERY OF BEAUTY - 28-32
Kathcntu MacDonald, Justine Johnstone, Ivy Close
Ivy Duke, Lad\ Diana Manners.
BEAUTY ADORNED 33
A page of fashion pitiures.
BEAUTIFUL HOMES OF
MOVIE STARS - - - 34-35
Double page art-plate.
MR. AND MRS. PICTUREGOER
AT THE REGENT, BRIGHTON 36
FORBIDDEN FRUIT - - 37
The story of the hamous-Lasky film.
PHYSICAL FITNESS 41
Ho:,' film stars achieve physical perfection.
LITTLE LORD FAUNTLEROY 42
All about Mary Pickford's latetl release.
A TALE OF TWO GISHES - 43
Lillian and Dorothy talk about their film-work.
THE GENERAL UTILITY MAN 48
His share in the making of motion pictures.
SHADOWLAND - - 51-60
Critical gossip of the month.
WHAT DO YOU THINK ? - 66
Picturegoer readers express their opinions.
A
C^*
I
10
THE- PICTU RE-GOE-R
MAY 1922
CLAIRE WINDSOR AND BILL
Claire Windsor is one of the most beautiful players on the
American screen. She has blonde hair and blue eyes, and
Bill takes after his mother in the matter of loveliness.
Jl AY 1922
THE PlCTUf5EGOC-R
11
VOL.3. NO. 17 MAY 1922.
Editorial Offices:
93, /.on« /4cre, London.
Reglilered for Tiommlsslon
by Canadian Magazine potf.
£&9k
"Sj^^^. * ■ >■ jj+Hf^u^K*
,
MAY BIRTHDAYS.
*
>•
Norma Talmadge
* •
James Knight
■
6 -
■ Jean Acker
9
Richard Barthelmess
; 20
- Hugh Thompson
22 ■
- Alia Naximova
23
Chrissie White
24
■ Creighton Hale
25
- Guy Newall
26
- May Collins
29
Casson Ferguson
31
- Marjorie Y'illis
PRIDAY, May 6. 1912, was
a Red-Letter day in the career of a little
maid who had commenced working in the
movie9 with David Wark Griffith for five
dollars a day. She was known, then as now,
as Mary Pickford, and on this date she drew
her new weekly salary cheque for one hundred
nd fifty dollars. Such a figure was "remarkable
n 1912).
Los Angeles turned out in force on Saturday,
4ay 9, 1916, to give Charlie Chaplin a rousing send-
ii. Charlie left comedy-making to its own devices
whilst he went on a Liberty Loan tour, which consisted
f visiting town after town, speech-making and inciting
le population to buy Liberty Loan and so help to
vi n the war.
On Tuesday, May 10, 1918, Goldwyn " roped-
n a certain optimistic cowboy-kindof-feller calling
limself Will Rogers. They were about to screen
aligning Bill Hyde, and Rex Beach, who wrote it,
vanted Will Rogers to play his hero. Said Will : " This is no laugh-
ng matter. I suppose you 11 not be satisfied till you've made me do all
he things I can't do.' Anyway, Goldwyn put Rogers on the screen
»nd the fans kept him there for years.
May 16. 1904, was a Monday, and a certain gentleman in
hicago was feeling badly Mondayfied. So he called it a day at
half-past two and went home. Having had decidedly the worst
oi it over some law business, he felt there ought to be a lawyer
n the family, and told his daughter she was going to be a
awyer. Daughter Dorothy Dalton said she was going to
ie an actress. Take a look at last month s " Picturegoer and
you 11 9ee who won.
The film version of " Macbeth, starring Sir Herbert Tree
in the role of the Scottish Chieftain, was completed at Los
Angeles in 1916. On Tuesday, May 18, in that year, it was
estimated that Sir Herbert received £20,000 cash and royalties
or his share in the production.
A film called The Silent Partner was released in America on
Thursday, May 19. 1917. It was a good, though not remarkably
good, production, but the featured players were worth consideration.
They were a very blonde girl called Blanche Sweet (late Daphne
Wayne> and one Thoma9 Meighan, who had not been in pictures
a groat while.
On Sunday, May 22, 1912, the Sennett Studio was actively
engaged in shooting a few mob scenes. The mob was a Russian
mob; at least, it looked very Russian though it spoke good
American — most of it. One smallish, heavily bewhiskered
individual looked so Russian that Mack Sennett said, " Ray-
mond Hatton, you come up in front here nearest the camera.
In the middle of the scene Hatton s crepe whiskers caught
tire (no one ever knew how or why), and his agitation lest
they were entirely consumed before the camera ceased clicking
caused intense amusement amongst his fellow Bolsheviks.
<n
->2
g *v<,
?;'.-i'"4v
4
*-*-, C r
V "«*».
b&£
$
m ■ ^fl
ur*.
£n id Bennett.
THE- PICTU RE-GOE-R
MAY 1922
I i I • • ■ I I i i t I i . I < ! I I I I . i
I I I I I I I I 11 ( / .
Katherine
MacDonuld.
Not even the stage, despite its his-
tory and position, can boast of so
many beautiful women as the screen.
Although quite a youngster in com-
parison, the screen irresistibly attracts
and holds the allegiance of the fail
possessors of regular features, graceful
forms and fascinating personalities.
Its appeal is firstly and lastly to the
eye ; through the eye, naturally to the
other senses; but, relying, as'it does,
essentially upon visual appeal, it is only
natural that screenlaml to-day holds more
beautiful women than stageland in its
palmiest times. And the modern Paris
would need a whole orchard ol golden apples
seek to award a beauty prize, for every other
star shines pre-eminent in her own way.
did he
screen -
Anna
O. Nilssom.
All tvpes of femininity
reflect themselves upon the
screens of 1922 ; never has
there been such a feast of
real loveliness. No matter
where one's fancy wanders,
be it towards shy Dickens-
like damsels or alluring,
1
%Y 1922
JHE PICTUR&GO&R
Right :
.ignes Ayres.
""KM
»rk-eyed charmers, the screen
n Rive glorious examples of them,
ach to his own ideal, yet certain
tributes — intelligence (beauty
asted without it), personality, charm,
id appeal — belong to them all in.
>mmon. Fair women, literally as well as
guratively, predominate amongst the ac-
?pted screen beauties of the day. Hanging
om the dreamy and spirihtelle loveliness of
lildred Harris and Gladys Cooper to the alert
larm of dashing tvy Duke, whose bright eyes
nd wideawake expression bespeak a love of
le open air, there are three or four blonde
eauties to each brunette.
Above
Alma
Rubens.
Cooper.
14
THE- PlCTUPEGOtQ
MAY 192:
This movie model of a mediaeval castle looks like real landscape on the screen.
Dorothy Dalton in a wonderful garden scene in "Guilty of Love."
Jill
ac&jruunds
Providing picturesque backgrounds ft
beautiful women and handsome me
on the screen is akin to the craft of tl
jeweller who creates settings worthy (
artistic and valuable gems. And, althoug
a setting cannot make a film star an
more than a frame of gold can brin
lustre to a tawdry jewel, the one coir
bines with the other to reflect the mo;
picturesque appeal from the silver shee
Nazimova invariably flickers across th
screen amidst gorgeous settings designe
to accentuate her especial bizarre sty]
of beauty. In Billions, her produce:
Charles Bryant, conceived a beautifv
artistic scene that, with the aid of ir
genious lighting effects, floors of glasi
and gigantic flowers with petals of whit
velvet, suggested the atmosphere of
garden of dreams.
Only the most artistic handling of sue
a theme could prevent it from descend
ing to somewhat ludicrous pantomime
The effect on the screen, however, was t
reflect an artistic tableaux reminiscent c
the picturesque stagecraft of Osca
Asche.
Many beautiful settings have been cor
ceived with the aid of plate-glass. Give
the correct lighting that tones clow
dazzling reflection, glass produces throug
the eye of the camera a brilliant ebonj
like effect extremely pleasing to the eve
One of the most effective background
Circle : Aim
Taylor i,
" Tansy
Left : Agnes Ayres and Forrest Stanley in
the ballroom scene from " Forbidden
Fruit."
(AY 1922
THE- PICTUREGO&f?
•I this description was the wonderful
ass ballroom scene in Forbidden Fruit.
[ass glittered everywhere in this clever
'.ectacle. The floor of the dance-room
as composed of plate-glass. Cinderella-
ce stairs of the same transparent
aterial scintillated behind fountains
fleeted in lofty mirrors.
:The scene was an inspiration of Cecil
3 Mille, who splashes his productions
ith colour and luxury in a profligate
anner that costs thousands of pounds.
It might be expected that David W,
rirrith would extend the artistry that he
splays in the studio to the beauties of
ature herself . His backgrounds when he
filming exterior scenes are no less
tistic than those which he obtains with
s unrivalled knowledge of lighting effects
:d the possibilities of artificial settings.
He spent months searching for the
•autiful scenery that provides the back-
ounds that appear in the summer river
enes in Way Down Fast. With the
itural reluctance of the artistic mind to
fleet things as they really are, Griffith
troduces into his screen landscapes a
.ggestion of pastel drawing. Photo-
aphy accomplishes such effects by soft focus methods
iat bring to Nature a new and appealing effect, just as
:ey embellish the beauty of Griffith's heroines.
In Orphans of the Storm, the picturesque road-side
'ene that the camera reveals when the old-time
iach with the quaintly attired orphans holds up
e ornate carriage of the French aristocrat, is a
pica) example of Griffith's uncanny eye for
enic effect. Although the incident on the
ad only occupies the space of a few minutes on
e screen, the background of rolling landscape
as selected after much forethought. Even
ature has to give its best to meet with the
exorable demands of Griffith.
The rural beauties of Great Britain, after long
gleet, are now coming into their own and pro-
vliiiR settings for an increasing number of film
ctures. Rural Sussex, with all its unrivalled
■ >peal, has been caught at its best by the cameras
orge Vitzmaurice directing J. Kirkwood and John
Miller un the road from Sorrento to Posit ano.
Dorothy Gii/i
in "Mary
Ellen
Comes to
^ Town."
A pretty scene,
in " Judgment
House."
in the Hepworth picture
Tansy. The familiar charm of
the Norfolk Broads, with the soft effects
of the sunset gleaming on the winding
waters, figures in The Persistent Lovers ;
and the Devon dales and the red cliffs of the
land of Drake brought to the film storv.
The Haven, a typically British background
of the artistic type that in the past has
inspired the brush of famous artists.
The British film, Christine Johnstone,
reflected much of the charm of a Scottish
fishing village, yet it is an ironic fact that an
extravagant set representing the village
of Thrums in Sentimental Tommy was
built in America recently, and it very
effectively captured the atmosphere be-
loved by Sir James Barrie. The quaint
latticed houses and cobbled streets were
produced by the property-maker's art,
and the blue of the Californian sky was,
perhaps, the only false note ; but the
cameras, of course, did not betray this
fact on the screen. p. k. m.
c
THE PlCTU^E-GOe-R
May \()2
/. Wurrnn
l\erriiJ.!n ■md
Tlwmai
Meijihan,
'o be truthful with a mathematical exactitude, tli
above is scarcely the right title fur this articli
Hut it is near enough to serve my purpose. And, beside
it looks nice, and gives that classic touch that dare no
be missing from the fan's favourite magazine. So plea*
forget that the original Adonis was killed by a wild baa
and brought back to life on condition that he spen
half his life with Prosperpine, and only remember tha
he was loved by Venus because of his good looks am
manly appearance. (And I might add that Venus vra
no bad judge in those days.)
In these days, and in these pages, there is a dange
of the.beauty of the numerous screen Venuses (or is '•' Veni '
the plural of Venus ?) completely swamping the reprc
sentatives of noble masculinity that flit across the silve
sheet to the delight of the admiring typists and war
widows in the plush seats. I have commandeered tlii
page in order to for ever vindicate the claims of tli<
Eugene O'Briens, Ivor Novcllos, and Wallace Reid
to a front seat in the male beauty chorus.
Take the case of that unashamed ilutterer of feniali
Warren Kerrigan. Had Prosperpine lived in California
she would have haunted the Brunton studios, and have died happ1
for a smile from those fascinating eyes in which the blue ol tin
Irish Sea still remains. And yet, handsome as Jack is, he ha
deliberately avoided the marriage market. Not that he can clain
to be heart-free, for that very necessarv adjunct to Mendelssohn'
Wedding March " is still in the keeping of, as he himself puts it, " her whos*
tender care has sought no further reward than that those dear to her might shan
her joys " his mother.
I might add, for the benefit of the plush-seat optimists, that Jack is twenty
seven years of age. has dark hair and a light heart. He says that he doesn't believi
in film stars being married ; but you of the plush seats can go on hoping for the l>est
. Even producers need not be unduly economical in the matter of good looks
Twenty-seven years after his birth certificate was first issued. Rex Ingram produce*
the super-film. The Four Horsemen of the Apocalypse, and even that herculeai
task failed to detract from the native physical beauty that he inherited at birth
AY 1922
The- pi ctu regoe-r
p
Valentino.
tight: Richard
Uarthelmcss.
l is interesting, but not surprising,
> learn that Hex Ingram is Irish
Iso.
Playing opposite the Gish sisters
n Orphans of the Storm will be
een Joseph Schildkraut, and this
eading man has become quite a
creen idol in America, and his
Iandsome, beaming and courtly
mile will endear him to the hearts
f the occupants of the British
;!ush seats also.
There are, too, our British
Ulonises, of whom Ivor Novello cand
4enry Victor are the chief. Ivor
lertainly looked more like a Greek
,'od in Carnival than anyone I
lave ever seen, and his good looks
i Iso are traceable to Celtic birth
ind breeding, he being horn in
A'ales, and with the tragic glamour
)f a long line of Celtic ancestors.
Then there is the striking and
picturesque figure, Rudolf Valen-
tino, who gathered his native
"harm and physical beauty from
ninny Italy, where he was born twenty-five
iv'ears ago. Black-haired and black-eyed, this
Jon of the Olive Groves went to America,
where his lithe and graceful manner soon
secured his success first as a dancer and then as
i film player.
It was the keen breezes and salt surf of our
English Brighton that gave Herbert Rawlinson
Ithat slight tan that adds to his handsome appear
ance. His excellent features, wavy hair, fine eyes V
land delicate smile has long since made him highly
popular with the susceptibles of the plush seats.
Scandinavian girls, British girls, Italian girls and
(American girls have all, in turn, voted Wallace
iReid to he their favourite " He " on the screen ; but
no one can express any surprise at this. Tall,
well proportioned, with finely-chiselled features am
expressive eyes, it is impossible to withstand the
attraction of his personality. And if you were still
uncom inced as to masculine beauty on the screen, 1
could cite you such Adonis- like characters as
1 homas Meighan, Kugene O'Brien, Antonio .Moreno,
Richard Barthelmess, and a host of others, i,. (;. A.
John Barn moie
Citt U : Owen Narcs.
THE PICTUREGOE-I5
* ^ SEVEN AGES
y^EAurr
Gladys Walton at two.
Man hath seven ages,"
soliloquises the melan-
choly philosopher Jacques, in
Shakespeare's " As You Like
It." He then proceeds to enu-
merate them at his leisure in
blank verse. Woman, too, hath
" seven ages," according to a
later poet whose effusion did not
live very long. Beauty, 'tis said,
is ageless, like Art, but it cer-
tainly varies with the' age of its
proud possessor. There is some
thing very attractive about the
engaging charm of the two-year-
old toddler. She is still an infant,
yet her wondering eyes and
dimpling features have already acquired that intangible something
called " expression." Ten-year-old Virginia Lee C'orbin typifies
the happy stage. From her sunny locks to her
dancing feet, the careless, care-free spirit of
irresponsible childhood is imaged in little
Virginia's dainty grace. Add another five
years, and enter the flapper. Still care-
free, but no longer careless. Charming
always in her April moods of mischief
and mock seriousness. She still
wears her hair flowing free, at least
we have Mary Miles Minter's word
for it, and Mary Minter is the
screen's adorable flapper. In ten
years' time Beauty is a little more
serious. She is surer of herself, too,
and she has replaced some of her
dreams by actualities. She has ac-
quired poise, a certain sense of her
own value and her own charm. As a
type of loveliness at this, its fourth age,
Anita Stewart is an appealing example.
Tenderness and sympathy are salient in
her face. (Anita has been a noted beauty
since she was barely fifteen.) Intellectuality,
too, her golden brown curls conceal an active,
ambitious brain and the ability to display to the
world in general her undoubted charm. .
A few years more, and Beauty is at her zenith. Stately, yet
gracious, always exquisitely gowned, her beautifully moulded
features and lustrous eyes demand attention wherever she wanders.
The intellectual age of Beauty finds a delightful representative in
Mary Alden, Character shines from every lineament, and an in-
dividuality ill thought and expression. Mary Carr expresses a
pathetic and touching Beauty, for she typifies every mother when
she is growing old. Which brings us to the final age of Beauty,
which is Old Age.
Mary Carr as the old
lady in " Over the
Hill."
MAY 1922
THE PICTUR&GOE-R
CRAFT
OF THE
CAMERA
Screen Beauty in the Making is the theme
of this fascinating article, which shows
you that camera craft has much to do
with presenting beautiful features at their
highest "face value."
To talk glibly of the lens of the film
camera as a supplementary eye
that reflects the picturesque and the
human interest happenings of the
world, is a customary form of literary
license. But when the question
arises of screening beauty as it con-
cerns th" human face and form
divine, this delightful simile ceases to
exist. For beauty, we are told, lies
in the eye of the beholder, but it
requires the craft of the studio to
reflect the attractions of Nature's
gifts in the lens of the camera. There
is a sharp dividing line here between
the mechanical " eye " and that which
sees beauty as it is, and does not have
to resort to subterfuge to reflect it
on to the silver screens of the world's
picture theatres.
In everyday life you can see in a
small degree the underlying principle
of the mass of ingenious devices that
enable a modern film studio to present
beautiful features literally at their
highest " face value." Most people
have walked into a room and have
been greeted by a member of the
fair sex who with her back to the
light has appeared to possess an un-
blemished complexion, attractive eyes
and pleasing features. Rut when she
has turned towards the window, and
the unflattering light of day has
relentlessly spoilt one's early illusion,
the beautifying effects of shadowed
light is forcibly impressed upon us.
And many, no doubt, have observed
how a pretty butterfly at a ball sheds
much of her brilliance and attractive-
ness when she leaves the glare of the
artificial light and steps into the un-
becoming rays of the street lamp on
the way to her car.
There in the rough you have an
illustration of the effect of light on
the human countenance, and such
primary facts have been taken by
film producers, studied and developed
until in the wonderful organisation
By a judicious arrangement of backgrounds, diminutive stars like Marguerite
Clark — who is only 4 ft- 10 in. high — may appear much taller on the screen.
of a modern studio they find expres-
sion in a maze of arc lamps of many
million candle-power, reflecting screens,
intricate " make-up," and other de-
vices of the studio " beauty doctors."
Every film artiste has a special
form of make-up before the all-seeing
eye of the camera. For those who
play in the crowds a standardised
method is adopted, but with the
" stars," who have to face the ordeals
of close-ups and similar forms of
" betraying " camera tactics, many
ingenious methods of face camouflage
are effected.
In combination with lighting effects
it is possible to create features with
the subtle use of grease-paint This
may suggest that papier-mache noses
and padding with commodities as un-
romantic as putty are involved. But
such crudities are not practised in the
studios.
For experts in make-up have found
it possible to alter the shape of the
mouth, the contour of the cheek
bones, the attractiveness of the eye-
brows, and to suggest intelligence in
the altered appearance of a forehead
Make-up has produced some of the
most famous features on the screen
If you saw the eyes of Ann Forrest
away from the studios, you would
see little of that dazzling brilliance
20
THE- PICTU r2E-GO&R
MAY 1922
Eugene O'Brien's
ire so pale :!iat
they fail to register in
s"me scenes.
that they display on the sil-
ver sheet. For this beautiful
Dane has the typical light-grey
eyes associated with her country.
Without make-up the camera hardly
photographs them at all. Yet, with
the aid of heavy black make-up,
beaded lashes and darkened lids, the
lens brings to them a beauty that is
almost uncanny.
lie be Daniels is credited with the
most beautiful mouth on the screen
But in real life her lips are very
lit'tle like those that she has made
famous on the screen.
A big red lip-stick supplies the
seductive curves with which she pouts
so charmingly before the cameras.
Beauty is added to her mouth by
lengthening the upper lip and deepen-
ing the lower one, and beneath a
touch of dark-brown grease-paint
brings a suggestion of a dimple.
Many film beauties owe their
charm on the screen to the fact
that their faces present what can
be described as a good " canvas "
for make-up. Experts employed
at the studios utilise eyebrow-
pencils, lip - sticks, and grease-
paints in very much the same way
that artists wield their brushes
before their easels. Margaret
Loomis, who plays opposite Wally
Reid, is inclined to plainness in
private life, yet make-up that
brings out the fascinating depths
of her dark eyes, changes the down-
ward tendency of her mouth and
re-shapes her eyebrows, converts her
into a screen beauty worthy to be
made love to by the discriminating
lady-killer Wally Reid.'
This somewhat brutal dissection of
screen beauty, with its betrayal of the
secret powers that are wielded by the
What make-up does for Ann Forrest ts
shown in these two pictures.
grease-paints, must not be inter-
preted as a wholesale condemnation
of good looks on the films. There are
certain artistes born with ideal camera
faces. The vagaries of Nature have
given them the light and shadow on
their features and hair which reflects
in the most effective form on the
screen. Such beauty is enjoyed by
Juanita Hansen, on whom the studio
arc - lamps shine with kindly gleams of
light that throw fascinating shadows
Compare the above soft-
focus picture of Margaret
Loomis with the portrait
on the opposite page.
amongst her golden
tresses and silhouette her
delicate profile. Blondes are
fortunate where natural camera
beauty is concerned.
The fair tresses of Blanche Sweet,
Mary Miles Minter, and Eileen
1'ercy become attractive, dazzling
halos when the arc-lamps bathe
them in light.
There is a strange magic about
the lights of filmdom that, like
giant eyes, peer down on the great
expanse of the studio floor. For,
although they are relentless dis-
coverers of faults and blemishes in
physical appearance, they can create
beauty in addition to revealing defects.
In the pioneer days of the screen,
little was known of lighting, and
cameras had to follow the sun in the
open air. If clouds appeared and
interfered with the rays of light
emanating from celestial spaces, the
canvas sets were, packed up and the
artistes made tracks for home. Now
light is reflected, filtered and juggled
•1AY 1922
THE- PICTUR&GOE-f?
2!
A " straight " portrait of Margaret Loom
(see opposite)
with in very many
genious ways by those
who go down to the
studios to produce
pictures. Many of
the softening effects
that Griffith pro-
duces on the wist-
ful faces of
Dorothy and Lil-
lian Gish are
(•produced by
rays of light re-
flected on to
these famous
sisters by white
reflectors This
method of indirect
lighting obviates
the heavy amount
of grease - paint
once used on the
faces of artistes, mak-
ing facial expression
a difficult procedure.
Griffith has originated
an intensified misty effect
of photography that enhances
the beauty and charm of his
screen heroines. That is his
method of gilding the lily as repre-
sented by the beauty that he models
for the film as a skilled potter wields
his clay. Griffith worked for many
years on experiments that enabled
him to secure these effects,
and he is planning further
developments on the same
lines. The far-seeing pro-
ducer, who sees farther into
the future than most qf his
companions who work be-
hind the megaphone, does
not strive to hold a mirror
up to life when he plans a
screen picture. He seeks to
portray with the craft of
the camera the more subtle
aspects of beauty that only
tricks of light and lens can
reflect. A master of the
possibilities of lighting, he
has brought to the screen
not only magnificent pano-
ramas, but intimate details
of the moods and expressions
of beautiful women un-
rivalled in film production.
He is a pioneer of a new
mode of light and shadow.
An artist himself, Stuart
Blackton.who recently used
the possibilities of the film
camera to reflect the delicate
beauty of Lady Diana Duff
Cooper on to the screen,
has studied film lighting
from famous canvases. He
analysed the details of light
and shade on the faces of
Rembrandt's pictures. He
noted how the great Dutch
painter utilised light to
bring out the figures on his
canvases. On these re-
searches Blackton
based his
system |
of back-lighting in his studios, and he
presents beauty on the silver sheet
with much of the quality that exists
in famous portrait canvases.
The amount of intricate research
In some circumstances Dorothy Dallon might be con-
sidered plain, but she always photographs well.
The
camera is
unkind to
Seena Owen.
Griffith finds Lillian Gish an ideal subject for " soft-
focus " photography.
work that producers of recent years have
placed behind their efforts to portray beauty
on the screen may" seem unnecessary to the
lay mind.
But the fact remains that the expressive
22
THE PICTUREGO&f?
MAY 1922
In some studies Nazimova appears positively plain,
in others radiantly beautiful.
-eyes, the fascinating mouths, the natural light of
luxurious hair, and the many other gifts of Nature
that make up the Eternal Feminine, t are more truly
portrayed on the screen than they have ever been
before. Compare a close-up of Dorothy Gish in
tears, with all its natural and sentimental appeal,
with the " flat "portrait-like heads of film heroines
of but a few years ago. In these days the emotional
appeal of beauty can almost be felt when it flashes
on to the silver sheet.
In many interest films that illustrate the latest
fashions for the feminine picturegoer, you will
observe beautiful mannequins displaying the
latest sartorial creations of European dress i
kings. But the word beautiful is used J A
advisedly. For, although these girls -jJM^.j
have been selected for their appearance, ^^M
they appear, in most i ases, plain and ^^. .£
demanded that their good appearance should be reflected accord
ing to its own inexorable requirements.
Yet the lens has some kindly aspects for those who are calle*
upon to face its relentless eye. It can give those of short statin
the suggestion of commanding height that is entirely lacltin
in reality. There are few film stars of the fair sex above five
feet-five in height.
It sometimes happens that a tragedy lies behind beauty tha
the lens of the camera reflects with appealing charm on the screer
Good looks are there, but the possessors are like flowers withoi
scent. They have not the talent to enable them to act for ti.
films and to present their attractive appearance with a convincin
backing of histrionic art. In a -recent Screei
Beauty Competition, which was decided b
the votes of the public when the com
petitors were shown on the silver sheet
an English and a Scotch girl proved th<
winners. They both looked beautiful o-
the screen, but their recommendation
stopped there, as far as filming was con
cerned. They had not the power to act
and the producers, at first attracted tv
their good looks, eventually gave up th(
task of endeavouring to foster* them a;
potential British film stars.
In outlining these few sidelights on th(
craft of the camera, the suggestion ma\
have been created that film artiste:
are in the class of puppets presentee
on the screen with mechanica
Vaids that approximate to th<
~" strings that operate the mutes ir
toy theatres. But the genius of tht
studio director can never do more thar
gild the exterior of the artistes thai
play before him. The art of acting
and reflecting ' convincing emotions or
the screen comes from within — thai
is the natural jewel that the producei
can only embellish and never create.
P. Russell Mallinson
The camera lends added loveliness to Louist
Glaum.
■:#'
Gorgeous gowns con-
tribute largely to
Corinne Griffith's great
beauty.
.gawky on the screen. That is because
their physical attractions have not been
fostered by the studio make-up experts
and the trickery of the men behind the
hissing arc-lamps.
In London recently the film cameras
arrived in the ballrqpm where a number of film stars were dancing.
When the Sunlight arc-lamps illuminated the building, there
was a flutter of powder-puffs amongst the kinema artistes figuring
in the assembly. For those who had had experience of film
studios knew that arc-lamps could produce peculiar lighting
effects on complexions unless cheeks are powdered with some
similarity to camera make-up. The film " stars " were not
taking any risk of appearing on the screen so unbecomingly
that their admirers would sustain a shock.
Such stage beauties as Gladys Cooper, Ruby Miller, and
Peggy O'Neill had to spend a long period being initiated into
the art of studio make-up and posing before they faced the
film cameras recently in connection with pictures that provided
for the public animated sidelights on their domestic life. Yet
these famous actresses, in reality, look almost as beautiful in
jeal life as they do behind the footlights. But the film camera
AY 1922
THE- PI CTU R E-GOE-R
23
if " pretty children always grow up ugly," it is a
blank outlook for the delightful kiddies depicted
on this page. But most parents would be willing to
take the risk.
Here you see some world-famous " kinema kiddies "
who have appeared in many screen successes. Prominent
amongst them are Francis Carpenter and Virginia Lee
Corbin, film pantomime stars ; little Miriam Battista,
of H umoresque fame ; Arthur Trimble, winner of three
beauty prizes, who has been selected by Rupert Hughes
to play in Remembrance ; Richard Headrick, an infant
phenomenon, " who gave swimming exhibitions at the
age of six months " ; Thelma Daniels, aged seven, who
has appeared with Bebe Daniels, Frank Mayo, Betty
Compson, Eddie Polo, and many famous screen stars ;
and Peter Dear, a British kiddie, who appeared in
The Woman Thou Gavest Me, and who is to
featured in a series of two-reel film stories.
Below : Thelma Daniels, a screen star of
seven. i
Richard Headrick (" Ilchie "). Little Peter Dear.
Dainty Miriam Dattist'a.
Robert de Vilbise.
24
THE- PICTUREGOE-R
MAY 192:
More vears ago tli m
I dare hint at,
there was an exodus of
the ancients from the
city of Athens, and their
optimistic quest was for
the Secret of Beauty.
Each of these classic
gods set himself the task
of discovering one of the
various ingredients, so
that when all returned,
their total labours would
reveal the heavenly secret.
Which was, to say the
least of it, decidedly optimistic, and em-
barrassingly Utopian. For the Ingredients
of the Secret of Beauty were not to be found
in the days of the ancient classics, nor in the
Elysian Fields of the Greeks, nor in the Stars of
the Seven Heavens. The Cathedral of Beauty
is the movie studio, and the Goddesses of
Beauty are among the Stars of the Screen.
So much so, that the Paragon of Beauty
could be constructed from the various " beauty
spots " of the film fan's favourites very easily-
First of all, let us consult the Oracle as to
what constitutes beauty. And this is the
definition of the first Goddess of Beauty :
lustrous hair, soulful eyes, gazelie-like figure,
slender hands, well-shaped limbs, and a youth-
ful spirit. And the easiest job in the world
is to select at random a bevy of Flicker Fairies
whose contributions would be sufficient to
fashion and shape a comely figure of perfect
beauty that would cause Helen of Troy to
burn with envy and Cleopatra to fall down
in worshipful admiration.
Gladys Walton and Eileen Percy could be
relied upon for the " crowning glory " ; and
if the former were asked for the secret of her
beautiful head of golden hair, she would tell
you that nestling in every strand of it are the
rays of the sun, in which she bathes it daily.
" I give my hair a sun-bath on every possible
occasion ; and then always rinse my head in
at least three baths of ice-cold water.'' The
sun-bath, Gladys explains,
keeps the hair light, and
the water causes the blood
to circulate through the
scalp and gives lustre to
the hair ; for, just as the
sunshine keeps clothes •
white and clean, so n
acts on a woman's hair.
Nor is if strange to|
find that Eileen Pert.',
another beautiful blonde
advocates sun-bathing foi
the hair. In addition,
Eileen strongly warns
girls against the temptation to change
the colour of the hair.
A girl can be absolutely certain that the
original shade is that which is most becoming
to her general appearance,'' writes dainty
Eileen, " because Nature seldom, if ever, makes
mistakes. If a dark girl tries to change hei
hair to a light shade by the use of peroxide or
henna, she will find that her eyes and com i
plexion do not blend, and that the effect i>
the reverse to attractive."
So it is fairly certain that our Goddess of
Beauty would entice the sun to leave its
radiance behind in her luxuriant hair by the
very natural means of sun-bathing.
There would be no difficulty at all in pro-
viding our Goddess with the right kind ot
eyes : Priscilla Dean has brought tens of
thousands to see her on the screen by reason
of the natural beauty of her eyes, and to het
we turn for her contribution.
Says Priscilla : " I have always considered
a woman's eyes to be the chief attraction she
has, and for that reason have taken the best
care possible of mine, and observe every rule
that would make them clear and brilliant. 1
never abuse them by reading in bed or in a
poor light. And when I'm working in the
studio, I keep them closed and away from the
lights as much as possible. If I am shopping
or working about my room, I always seek a
quiet place three or four times a day. and
Viola Dana {above)
believes that exercise
will keep you young.
I ileen Percy (left)
and Gladys Walton
(right) give you their
recipes for keeping
the hair beautiful.
Ml
MAY 1922
THE PICTURE-GOER
26
Swim and take out - door exercise," says
Marie Prevost.
close my eyes and relax the strain
on them completely."
This important rule is so obvious
that one would think that every girl
in the land would have followed it
herself. But it is to be feared that
too many girls are thoughtless in this
respect, and do not give to their eyes
the rest they claim for their limbs.
long, drooping lashes observes another
rule. Slie says that she bathes her
eyes in cool water three times during
each day " It's the same as washing
your hands," she replies ; " your eyes
get full of particles of dust, which
makes them dull, robs them of their
lustre, and gives them that heavy
look that detracts from personal
beauty."
Therefore, our Goddess woidd retain
that sparkling, glowing look in the
eyes by resting them and keeping
them cool and fresh.
As with the head and eyes, so with
the neck and throat, I have no
difficulty in finding a film star to
provide the necessary grace and
charm to our Goddess. In
Marie Prevost's opinion the
sure way to have an
attractive neck and
throat is to swim. And
Marie speaks with au-
thority, for she can out-
shine Annie Laurie in this
matter.
Marie writes to say : " The
posture necessary in swimming
is certain to give desirable lines,
especially to the throat and neck.
This never fails if one will swim
regularly day after day."
Our Goddess would of necessity
have to turn to Pearl White for
those soft, but firm, tender and
plastic hands. Pearl tells me how she
has succeeded in gaining them.
" Every evening I soak my hands
thoroughly in hot, soapy water, so
as to remove every particle of dirt.
Then I rub any good cream about
the base of the nails to keep the
cuticle from becoming rough and
hard. After which I use a mani-
cure set, and get the desired taper-
ing effect by filing the nails carefully
and judiciously."
Eternal youth," declares Viola
Dana, " is within the grasp of every-
one. It is only another name for
buoyancy, freshness, and real health ;
and it is possible to all. Exercise
and the out - of - doors are the open
sesames." Viola's views are authori-
tative, for is she not the very Apostle
of Yonthfulness on the screen ?
That imperious beauty, Nazimova,
has long since announced her secret of
physical and spiritual beauty : " Cry
a little. Laugh a little. Eat' a little.
Sleep a little. Play a little. Work
Priscilla of the brilliant eyes and
Play a little, work much and love much," advises Nazimova.
" Dancing will make your ankles shapely,"
declares Miss Du Pont.
much. Love much." And with these
words of advice, and with these illu-
minating examples of personal beauty,
we would have no difficulty whatever
in constructing a God-
dess whose beauties
would be as those
that drowned Nar-
cissus in the flood.
E. G. A.
Pearl White
is an author-
ity on beauti-
ful hands.
26
THE- PICTURtGOE-15
MAY 1922
Proving that homeliness is no bar to popular success
on the shadow stage.
Tucked away in obscure country homes have
been many Cinderellas who fondly dreamed
of a screen career, but whose hopes were almost
strangled at birth by the brutal truth read every
time the mirror was consulted. And the screen
ambitions of many young fellows were anni-
hilated with the same brutality as they, too,
realised that their looks were anything but
stock-in-trade in a market where beautiful girls
and handsome men are as plentiful as the stars
in the Milky Way.
These little dramas never reached the tragic
point because the Cinderellas and the little grey
mice discovered that, even on the screen, there
is room for ugly men and plain girls — that
Personal Beauty is not the key that opens the
studio door, but that histrionic talent counts,
and that even ugliness can be exploited. So
much so, that there are film artistes of the most
popidar order whose beauty of form and feature
is as low as their bea\ity of talent and artistry
is high.
To do handsomely on the screen is to be hand-
some. That is the encouraging fact that the
presence of a whole bunch of famous stars estab-
lishes. Girls without dimples or curls, and men
without Owen-Nares looks or Tom Meighan hair
and smile, have soared right to the highest plane
of screencraft, not despite their plainness, but
because of it.
And there is a certain sense in which it is true
that plainness on the screen outlives prettiness.
Take Zasu Pitts for an example of this truth. It
may be very ungallant of me to say it, but Zasu has
certainly not relied on her personal beauty to make
a name for herself on the screen, and yet she is still in
the star-line long after many of the beautiful stars
who started with her have fallen like exploded squibs.
Zasu has what is known as " a perfect comedy face " ;
and yet — handsome being as handsome does — she has
had not the slightest difficulty in becoming a prime
favourite with the picturegoers, or in becoming very
happily married to a good-looking husband.
It will not be construed as a libel on Robert Warwick
if I point out that that popular player is not exactly a
paragon of personal beauty. His six feet of healthy
masculinity is picturesque in no sense other than that
of physical strength, and yet as a film actor, and as an
officer in the Army (he and Bryant Washburn joined up
together, and it was as a major that Robert was demobbed),
he has always been successful and popular. He is a
genuine " Son of the West " — Californian born and bred :
and the rough ruggedness of the mountains of the West
have left their impress on his character and his appearance.
And, also, let me bring forward, as evidence in support
of my contention that absence of an Owen-Naresque
style is not necessarily a handicap, no less a person than
Monte Blue. Young and popular as he is, he would be
the first to admit that it was not because
he was debonair and handsome that
he reached the dizzy heights of star-
dom.
After leaving University, he spent
two years on the variety stage ;
and then to the films he
came. When you see him
rescue Lillian Gish in Orphans
f^ of the Storm, you will not be
|0vl. able to refrain from admiring
MAY 1922
THE- PICTUR&GO&R
27
his manly manner. Monte is really a genuine
Reel Indian, a member of the famous Cherokee
tribe of Oklahoma, and the tribe are very proud
of Monte's fame Recently the tribe held a
meeting to protest against a newspaper state-
ment that Indians are favourite villains with
American authors, and they asked Monte only
to play " hero " parts, and offered to compensate
him for any loss he may sustain through being
loyal to his tribe in this manner.
No ; Monte is no matinee-idol ; but he's a rare
worker. Dark-brown eyes with a prairie glint,
dark, thick satiny hair (with no thanks to Bnllian-
tine, much used by what he disgustedly terms
" varnished -haired heroes "), and a typically Indian
face with high cheek bones and thick nose and lips.
But he's wholesome. And he's clever. And suc-
cessful. And popular.
So there you are I
Then there is Harry Carey, who cannot, with
truth, sing " My face is my fortune, sir." It is
not a case of " Handsome Harry," because running
a ranch of 17,000 acres and leading the rough life
of the plains do not make for facial adornment.
But Harry has refused to admit that only good-
looking boys can make good on the screen ; and he
turned his plainness to good account, so that
it was by virtue of his acting skill and type of
features that he has become the popular film
hero he is to-day.
Some months ago a whole host of fans wrote
to the Editor deploring the fact that William S.
Hart " is so ugly." But W, S. H. does not mind
that in the least. He knows he is not pretty.
But he .also knows how to capitalise plainness.
He refers to his facial expression as " darned
homeliness " ; but if his face is not up to the
highest standard of ssthetism, his heart is all
right, his brain is keen, and his sentiments sound.
He is strong in limb, wind, and character. That's
why he has " got there."
Von Stroheim started life with the apparent
handicap of the entire absence of good looks.
Anyone less enthusiastic would have followed
the line of least resistance, and become a bank
clerk or a 'bus conductor — any job that did
not place a cash value on looks. But not
Stroheim. He turned his attention to acting,
and not only overcame the handicap, but
turned it to good account. With the result
that he is now a leading author, actor, and
producer.
" I'm as ugly as sin," Will Rogers unblushingly
declares, and yet he is well established in the screen
planetary system.
Harrison Ford and Conrad Nagel are two other
favourites of the public who cannot boast a maxi-
mum of good looks. But they have played their
parts handsomely, and — " handsome is as hand-
some does."
Louise Fazenda admits that she is a fright."
Actually she is a young and beautiful girl ;
but, such are the possibilities for those w
do not possess good looks, she has found
worth while to divorce Beauty and Louise, and
adopt a guise of undiluted ugliness.
All of which goes to prove that there is
a big place on the screen for the Little
Grey Mouse, and the modern Cinderella,
apd the Ugly Ducklings, e. G. \
From top : Harrison
Ford, Conrad Nagel,
Von Stroheim, Lionel
Barrvtn^re, George Arliss
and Lila Lee.
28
THE- PI CTU REGOE-R
MAY 1922
JUSTINE JOHNSTONE
Made her screen debut with Marguerite (.'lurk in 1914, and
later attained stardom with the famous /.iegfe/d " Follies."
She has most lovely blonde hair and light - blue eyes.
'MY 1922
THE- PICTU RErGOE-R
29
KATHERINE MacDONALD
One of the screen's most beautiful women, is another blue-
eyed blonde. She was attracted to the movies by the success
of her sisttr, Mary MacLoren, and won Instant recognition.
30
THE PICTURtGOE-R
MAY 1922
■■■■■■^■■■■^■■■HHHHBB^BMBH^HHM^^^H
!'h !■' ly
IVY CLOSE
Made her screen debut in "The Lady of Shalott," a Hep-
worth production, and has starred in a score of screen
successes. She is the heroine of Abel Gance's new picture.
THE PICTUR&GO&R
31
IVY DUKE
Commenced her film career In 19 IS. and has won a world-
wide following as co-star with Guy Newall. Recently retired
from the stage to work solely for the movie screen.
32
THE PICTU RE-GOE-R
MAY 1922
i <
riuto by Rita Martih.
LADY DIANA MANNERS
Now starring in J. Stuart Hlackton'i productions, has long
starred as a British Society Beauty. Made h,r debut as
" l.adv Beatrice hair" in the first natural-colour drama.
MAY 1922
THE- PICTUteErGOE-R
-
■ ■■
\jjQCLUl
TH & m
^;oe-r
MAY 1922-35
» lainl-loo^ing
Los Angeles
'■'nee.
J Hintain lodge.
36
TWE- PICTUR&GO&R
MAY 1922
■MreMrSPiclureyoer 1
THE(REGEN.T
vij-kton
Brighton's
newest
kinema is
one of the
world's most
beautiful pic-
ture theatres.
- *
N"
one is ever
\\. a loss for
conversational opening in
a suitable
Brighton '
On getting acquainted, the resident
invariably asks the visitor, " And what
do you think of our beautiful Re-
gent ? " The poor over-worked weather
is ignored for once in its
life in spite of the fact that
it is always more worthy of
discussion at Brighton than
in most places. For whether
it be hot or cold, stormy or
bright, it is always super-
latively so. Brighton is a
town of iupcrlatives <>( one
sort or another. It is
especially suited, therefore,
to be the setting of the
Regent the superlative pic-
ture theatre.
The decorative scheme of
the Regent disarms critii ism
by us lack of pose or pre-
tentiousness, h has no
particular period no oak-
panelled mock-wax-candle
lighted baronial hall, this.
Not i.-, it the apotheosis of
the latest craze in " \rt
circles It is not Post-im-
pressionistic. 1 1 is not
Futuristic, or Vort ic ' I ti
simple language, it owes
conception to art instead of
" Art."
If the severely simple oak-panelled
type of theatre was a pleasing novelty
after the gilt and red plush of former
times, the Regent comes as a revela-
tion of all that can be done in the
way of sheer beauty, comfort and
pleasure.
It is reasonable to expect much
from an outlay of £400.000. But
when one visits the Regent lor the
first time, one feels that here is some-
thin;; different —above and beyond
./ glimpse of the interior of " The Regent."
ones most sanguine expectations.
The marble foyer, with its Cacn-slonc
walls, a ceiling and antique marble
candelabra from the famous Hope
Collection, is stately and impressive.
I he great and luxurious stairways
are worthy of a Venetian palace.
But these do not prepare one suffici-
ently for the soft, glowing wonderland
of the vast auditorium. Here all is
colour, indeterminate yet rich. One
fairly gasps, and if the £8,000 organ
happens to be playing, the effect.
even to the most prosaically-minded,
is quite emotional.
In addition to the superb organ,
there is Basil Cameron's fine orchestra
of thirty-six musicians, and the or-
chestral selections and organ recitals
are by no means the least appreciated
items on a programme which in-
cludes a super - picture, a comedy,
an interest or travel film, the Pathe
Gazette, Rve's Film Review, and a
star of the vaudeville or concert
platform.
The Regent Restaurant is an insti-
tution in itself. Table d'hote and
a la carte luncheons and dinners
are well attended by residents and
visitors alike. The dance teas in the
afternoon are interesting as well as
amusing Here one may see the
authentic k-nut and his feminine
counterpart wounded officers from
the convalescent homes, a blind man
or so (dancing faultlessly) from St.
Uunstan's, in Kemptown, and tvpi-
cally Britonian, prosperous - looking
young matrons darning together
or with their smartly - dressed
children.
Tea is also served in the Ship Cafe
(fashioned like the ward-room of an
r8th century three-decker), if one
wants ti. be cosy and decorously
private This is quite startlingly
realistic one expects t" see a slanting
horizon hue from the port-holes.
But the favourite tea rendezvous is
a colourful vista of Aladdin-like caves
leading one into another,
and each lighted differently
with such colours as d< mon
green, crimson, rose pink,
etc , and bearing one, two
or more little tables, so
arranged that everyone is
invisible to the others.
But to return to the
theatre The auditorium
is the latest fan-shaped
type giving a perfect sight-
lino from evei y seal . The
balcony is the largest in
the 1'mtcd Kingdom It
has a clear span of 1 10
feet, and a projection of
ovci ,o feet . The great arch
of the proscenium beauti-
fully decorated by the
painting - master of the
Brighton School of Art
is of majcstii proportions.
Three thousand people can
be and very frequently
are comfortably sealed at
each performance
MAY 1922
THE PICTUREGOE-R
37
Well —what ? "
Mrs. Mallory
lossed her fan aside,
and, rising, crossed to
the piano and tinkled
a few vague notes,
f. H. Mallory. husband
and financial magnate, laid the
stub of his cigar in the trav and
leaned back in his chair, frowning.
" I guessed you'd have thought oi
something," he sighed. ," A woman's
wit. . . ."
Nelson Rogers was leaving for the
West that night, and it was most
unsatisfactory. Another two davs
one day, perhaps — and the deal would
have been pulled off. Rogers was
wavering. It was a good deal. It
meant worlds to the Mallorys, but it
was a fine deal, too, for Rogers, and
he must see it. But here was this
urgent business of his, and he must
needs dash oft West for a week or
two, just when the thing was on the
point of settlement.
" We can let the matter hang over
tor a week or two,'' he had said.
" I'll think it fully over in my mind
while I'm away, and I even may
cable you a decision. Leave it over.
Sorrv 1 have to dash oil. If I could
have arranged otherwise. . . ."
But that was the whole point :
they couldn't let it stand over.
Things had happened - were hap-
pening at that very moment ; and
unless the Mallory oil interests tied
up with those of Nelson Rogers
within the next few days, things
more disastrous still would 'happen— for
the Mallorys. It couldn't stand over !
A woman's wit, you know
Mallory repeated. " I thought you
could have hit on something — -"
We might — " Mrs. Mallory began,
and stopped.
Wilhon' Lane
.^3®. -
" Yes ? "
There's Evelyn Sanders !
There is ! " snapped her husband,
with considerable irony. " Also there's
President Harding and the Emperor
of Japan, and the Secretary of the
Crossing sweepers' Union. What are
yon talking about, my dear ? "
Mrs. Mallory smiled.
I mean," she explained. " If we
asked Evelyn to dinner — a nice,
CHARACTERS:
Mary Maddock - ' - Agnes Ayres
Steve Maddock - Clarence Burton
J. H. Mallory Theodore Roberts
Mrs. Mallory Kathlyn Williams
Nelson Rogers - Forrest Stanley
Pietro Giuseppe Theodore Kosloff
Nadia Craig - - Julia Faye
Xarratnl by pcrmissinn from Ike FamousLasky
film nf the same title.
special dinner, held just in Nelson
Rogers' honour, and saw to it that
they were thrown together plenty-
well, you know what Evelyn is !
You know what the men are when
they catch a sight of her. And we
could explain to her the whole thing,
and she'd make herself extra agree-
able and nice to him. And then —
perhaps — perhaps he wouldn't go
West at all, but would stay along
in New York until
you had persuaded
him. . . ."
Mallory grinned, and
laid a hand gently on
his wife's shoulder.
" I knew," he said.
" What did I say all along r
Trust a woman's wit ! And you'll
fix this right away ?
" I'll phone to Evelyn now."
" And I'll get Rogers and let him
know that to-night's dinner is to be
a real special- in honour of his
departure ! Ha ! ha ! "
The dinner was for seven o'clock
A little before this time Mallory said
to his wife :
" Going well ? Is she here yet
" Should be at any minute," replied
Mrs. Mallory. " And Nelson ?
" Merry as ever, and still talking
of his journey. I hope — I wonder '
" No doubts ! " laughed his wife.
' This just hasn't got to go wrong."
She walked to the telephone, which
was wringing violently.
" Yes," she said, taking up Lhc
receiver. " Yes. It is. . . . Evelyn ?
Yes. . . . What !' . . . My dear !
Surely. . . . Really ? 1 I
She looked up at her husband, ami
he saw a light of doubt creeping at
last into her eyes. When she put
down the receiver she did not speak
for some moments.
" What is it ? " he asked.
" Evelyn cannot come! She is
ill, and cannot leave the house."
Mallory bit his lip, and paled.
' What — "
At that moment the door opened
and Mary Maddock, a young scam-
stress employed by Mrs. Mallory,
came in.
" I — Horkins said you wished
Mrs. Mallory waved her hand.
38
THE PICTUREGOE-R
MAY 1922
Already Nelson's demeanour was lover-like.
There could be no doubt that he had fallen
under Mary's spell.
" Yes — no — not now. To-morrow."
Mary turned away.
" Stop ! " cried Mrs. Mallory then.
" Perhaps " She glanced at her
husband. Mary stood by the door
and waited.
Mary Maddock was a woman very
young and very beautiful, quiet and
reserved, not given much to acquiring
new acquaintance s ; a woman who
walked quietly, of whose passing-by,
had she been less beautiful, none
might have been aware. She had
been with the Mallorys for a year,
had been well paid that time, and yet
she seemed never to have money,
and dressed always in the poorest
clothes. Nobody of the household
had heard that there was any mystery
about her, and yet all thought that
in some way there must be, She
stood now by the door, radiant but
passive, awaiting the wish of her
master and mistress, with a far-away
look in her eyes — a look that be-
tokened a dream — or a hidden mys-
tery.
j. H. Mallory nodded,
" Mary," said his wife,
Mary turned her eyes from the
nowhere to the grey present.
A friend of mine who should have
been present at the dinner to-night
has been taken ill and cannot come
I would like you to take her place,
if you would. It is so late that
otherwise 1 shall be a guest short,
and — and— of course, you know,
numbers and that sort of
I wish you could manage it
It will be a change for you,
Odd
thing,
for me.
and
Mrs.
appear
uttered
Mallorys reasons began to
ridiculous before they were
She wished she had made it
a command, But that.
" Yes," said Mary. " But — my
clothes "
" My dear girl ! " Mrs. Mallor\
smiled to hide the sigh of relief.
" My dear girl — I have all the clothes
you will need— and more. Come up-
stairs and let us choose."
A little while later Mary Maddock
and Nelson Rogers were side by
side at the dinner-table, smiling at
each other's sallies, and chatting as
if they had known each other for —
certainly more than half an hour.
And when the dinner was over, and
the fateful moment came round, and
the guests were expecting every second
that Nelson was leaving for the night
express, the young man took his host
aside and said :
" I — Mallory — p rhaps if I stayed
and fixed that deal with you, it would
be best. I could cable the people out
West — 1 hardly know- '
He broke off and seemed to con-
sider. Mallory waited, trying with
difficulty to repress his smiles. When
Nelson spoke again it was as if he
was gossiping casually with his tongue,
for the sake of politeness, while he
kept his mind occupied with a knotty
business problem But Mallory waited
patiently. He knew.
Very nice girl, Miss Maddock,"
said Nelson.
Ah ! Yes. Staying with us for a
few days, you know."
Indeed ? H'm ! But to business,
Mallory. This deal. I suppose a
few days could see it fixed ? If 1 were
to cable "
Three days,' said Mallory. " Say
three da\ s."
I'll stay," Nelson announced sud-
denly. That night Mallory patted his
wife upon the shoulder again.
A woman's wits, my dear."
he ,miled. " Every time ! We v<
done it.'
He nodded in the direction
of Nelson, who was bidding
good - night to Mary at the
other end of the room Already
the young man's demeanour was
lover-like There could be no
doubt that he had fallen under
Mary's spell.
B'
ut the Mallorys had done
more than they had
planned to do. The three days
passed quickly enough. The
deal was fixed, and Mallory
looked on the matter as ended.
But it had only just begun.
Most of the three days Nelson
had betrayed a desire to attend
to other things than business.
Some of the time he had been
" missing," and Mallory had
been many times on the verge
of despair, fearing that even
yet the deal might slip. And
not only had Nelson been missing,
but Mary had been missing too
They had been found in the
oddest places — the billiards room,
the lake, and far across the
gardens. Mrs. Mallory, with her
woman's wits, had begun to wonder.
But the three days passed, and it
was arranged that Nelson should
depart for the West and business in
the morning.
That night, when he went to bed
But he didn't. He sat before the
little fire in his room with his hands
pushed through his hair, trying to
think how one put it. It had never
happened to him before.
" Dear Miss Maddock " — No! That
was no good. " Mary." H'm ! Mary !
How long had he known her now ?
Three days ! Good lord! Good lord !
Three days ! Mary ! Well — should
he write ? Hopeless, hopeless ! He
must see her in the morning — pretend
he had mistaken the time of the
train, or something, and then . . .
But what should he say ?
He got up, in a torture of doubt
and inexperience, and began to pace
the room. Suddenly he stopped.
Was that a sound ?
Meanwhile, in her own room, Mary
was facing a crisis — staring into the
eyes of tragedy, the tragedy of a
life's mistake.
Nelson ! She sighed the name, and
wiped the falling tears from her eyes.
Nelson ! Her Nelson ! For she was
sure he could be. And then — and
then she knew again that he could
never be.
At last, worn out with thinking of
the problem to which there appeared
to be no solution, she undressed, and
tried to compose herself to sleep.
^/f inutes dragged by, then suddenly
1 a shadow darkened the strip
of pale moonlight that gleamed through
the balcony window. The window-
fastening creaked ominously, then
MAY 1922
THE PICTUR&GOE-I5
39
«ave with a sharp crack under the
pressure of an unseen force, whilst
the rays of an electric torch darted
across the room.
Stealthy footsteps sounded across
the carpet, and a dark figure moved
warily towards the bed. Then. . . .
" Mary ! By all that's wonderful !
The girl in the bed awoke with a
start to find herself gazing into the
leering face of the intruder, a middle-
aged man whose eyes Mashed with
evil cunning.
" You ! " she gasped, shrinking
away in dismay.
The man laughed.
" Come to that— you !
'.' You— why are you here ?
" Lor ! Gone crazy suddenly -
What d'yer think ? "
" The Mallory diamonds !
" Brightenin' up a bit, are you ?
Come out o' the way !
" No ! You shall not !
" Oh, I shall not, eh ? And who —
The man thrust her aside and strode
to the door. Twenty feet away along
the corridor was the place ! Safe
as. . . .
But ten feet away, along the
corridor, was Nelson Rogers hurrying
swiftly to the room.
" Come back ! " cried Mary, clinging
to the man's arm " You shall not —
He turned to thrust her from him,
but at that moment the door was
thrown back, and Nelson came hurry-
ing in.
" I thought I heard a noise.
What "
He stopped, his eyes starting at
the strange sight. Mary fell back
with a startled gasp. The man stood
a moment, looking from one to the
other, and then, as Nelson dashed
forward, he sprang back to the window
and was gone.
" I'll raise the alarm ! " cried Nelson.
" We can get him across the park
" No ! " said Mary, running forward
and standing in his path. I mean —
1 mean "
Nelson stared at her in amaze-
ment.
1 mean," she faltered. " He is -
my husband ! "
Your — husband ? "
She nodded, and tried to look him
in the eyes.
I — ves."
Bui
Oh ! she cried, beating her
hands together, and turning away.
It's just — the same old story ' I
took him tor better or worse — aud-
it's worse. It's the very worst ! "
Nelson's face was troubled He
tried to find fitting words for the
extravagant situation.
" I'm— I say! I'm dreadfully
sorry. Can I— perhaps— do you
mean — — "
I mean everything. I mean that
when we are together he beats me.
1 mean that I work to keep him
You have been deceived, Mr. Rogers
You met me and you have known me
under a false light. I— cannot explain
everything, but— I am not a friend
of the Mallorys at all. II am only
a seamstress. You have been deceived.
I am sorry. I shall go away to-morrow
Forgive me. And please go."
But yet he stayed, and passed over
most of her confession with a wave
of the hand.
Why don't you divorce him ? "
he asked desperately.
No ! " she cried. " No ! I took
him for better or worse, but I took
him. It was a vow- a sacred vow ! I
believe— please leave me."
' Mary !
Yes, but -1 mean Nelson
broke oil and stared at her pathetically
Didn't she see ? Couldn't she under-
stand ? It was so easy —so very easj !
But so very hard to explain !
I mean —if he is ruining your
life -"
Nr0t now ! My life is ruined.
What might have been is gone and
done for and dead. That man is my
husband — a crook, an idler, a thief!
But he is my husband. 1 have made
my choice. I have turned at the
cross-roads down the way I am to
tread. There is no turning back.
You think me weak and silly, perhaps.
Believe me "
Indeed I do not ! I think you are
the bravest, strongest woman I have
known." And as for how you met me,
and under what circumstances "-—he
snapped his lingers " 1 don't care
that. So long as
She sank upon the bed and buried
her face in her hands
" So long as I did meet you ' " he
concluded. " So there ! If you would
only — if I could just persuade you
the man is a hulking waster. He will
drag you down to who shall say what
depths ? You say your life is ruined.
Helieve me that need not be. There
is not a Court in all the land that
would not "
Go ! " she sobbed.
" That would not free you. And
then— with better days with happier
days. . . . Do you hear me ? Do
you understand ?
Miss Maddock ! "
" Go ! "
" Mary ! "
She sat
looked at
flinchingly.
Yes ! 1 under-
stand ! I am not a
fool I am a woman.
Hut I hope 1 am a
woman who might
be worthy a woman
who would hold a
vow that
Her head dropped,
and he heard her
softly weeping.
By all that's
wonderful ! "
up
him
and
un-
4< .,
\
\
40
THE PICTUREGOE-R
MAY 1922
Mary ' il you would only
listen
" Oli, I have listened, I know, I
have listened to another voice than
yours — a voice within me that was
never, never silent and — I cannot !
Thank you -oh ! 1 thank you, but —
please go."
She ro.se, and he saw that it was
the end.
" I shall--! must know where you
go and what becomes of you. Some
day -
" Good-bye."
Good -bye
He went slowly from the room,
and walked with dragging footsteps
to his own But he did not so much
as look at the bed. He sat where he
had been sitting before, by the dying
fire, with his head on his hands,
staring dully into the flames, won-
dering.
" I must keep track of
her somehow. 1 must jgfry
know where she goes
I may - meet her
again. And her—
husband '
Next morning he
left the house ■
before t he other guests
were astir Mut he was
not the first. He was
unable to say good-bye
again to Mary. She
had been gone an hour
when he came down.
Mary had returnee
to the unspeakable
misery of the " home
that sheltered her
husband' and her-
self She had had
her dream of lover
and happiness
her Cinderella's
holiday. She had
met and loved
Prince Charming,
but now the clock
had sounded the knell of
her romance, and now she must
return to drudgery and despair.
On the first day of her return
home, Mary received a visit from
Mrs. Mallory, who besought her not
to acquaint Nelson with the details
of their plot.
in any case," urged Mrs. Mallory,
you will be well advised not to see
Mr. Rogers again. It is best that you
should remain apart,"
\nd Mary, with bitterness in her
heart, assented.
I ."'or live days Nelson tramped New
York looking for a face The
address that he had obtained from
the Mallorys had proved an emptv
nesl He had called there ; but though
Steve Maddock was well enough known
at the place, he was gone now, A\)i\
for keeps, as the neighbours in-
formed Nelson.
Ill di spaii . he turned away. In
;ill_New York's teeming millions was.
somewhere, the woman he sought.
But -where- The chances were
millions to one against him ; yet he
kept on. From early morning to long
after the last street prowler was abed
he searched the streets, looking at
each face with the sunrise of hope,
turning away with the sunset of the
hope shattered.
It seemed that he would never
find her. Fool he had been to let her
go ! Not to have watched her like a
faithful dog ! Dog ? Less than a
dog was he. A fool— thrice a fool.
He was crossing Central Park at
one of the quiet times, when the
paths were deserted, and he thought
lie was alone. He wanted to sit in
some sheltered place and think.
Suddenly he was aware that his
own footsteps were echoed by others.
He turned, again
well advised vol to sec Mi
buoyed with hope. But, no ! Only
a man— some loafer of the park
nobody !
He walked on savagely, cursing
fate.
Soon the man came alongside and
seemed to walk with him. Nelson
stopped and looked at the fellow.
The man stopped, too.
" Don't know me, boss, eh ?
" 1 neither know
wish to know you,''
Rogers.
" No ? Don't go makin
mistakes, boss. Don't pay.
look the way a thing's going
eh ? Business man Nelson
ain't it ? "
" Well - "
Am I it ? I asked ver.
That is my name."
i iood, Where can w e talk
don't look that way at me,
We met bclore. Old friends
You know
you nor do I
retorted Nelson
any fng
Always
to pay,
Rogers,
Now ,
boss
like
He gunned again, and then pro-
ceeded
"In a certain lady's bedroom in a
certain house in a certain avenue -
Fifth, wasn't it ? Shockin' incmon
yer got. too, boss,
Nelson started.
Her husband -
" You bet ' livery time '
Nelson motioned the man to a
secluded bench, and then sat beside
him,
" Well ? "
Well You thinks a bit about my
missus, eh, boss "J
If that is what you intend to
discuss
" Oh. well, please yerself. 1 was
only goin' ter tell yer. It- this way.
km a bit of a lad myself— a bit of a
goer. Not many folks know that
Mary s my wife see ? Oet what I'm
drivin' at ? The police are pretty fond
o me- give anything to gel me,
police would
" 1 in mustard and
pepper, when it comes
to hot \n ll it got
about that Mary was
hinged to vours truly
in lawful wedlock, it d
mess up her good
name some. Gel mc
\nd then, ii the word
went round that you
was sort of see '
sweel on the goods.
Well. I mean to sa_\ .
I m no credit i" any
body, I'm something
to he married to, 1
am ' You see w hat
I mean 1 in the sort
i heerful soul it d pay
anyone to shut up, Arc
\ er gettin me '■ "■
Nelson'.-, lip curled
" I low much do von
" Ah, now we're talkin
Answer me.
Ten thousand
What ?
" Please your little sett, boss
NeNon thought n over.
\nd no funny bits," the man
went on. 'Try any funny bits an'
the nastiest scandal will fly about
New York all about Mary and you,
and a hot little pepper pot like me !
I tell yer. it'll be some disgUStin' •
Mary'll never dare show her face
again. You neither Don't matter
very much il it's true or not. do it ?
I mean from my point o view. Anv
way, I in warnin' you. Don't try
put tin the cops wise to little Wilfred,
oi
Ten thousand ?
' That's the \ erv noise
" Hut
\in l anv butS in it, is there.
boss -
" I was going to say that 1 haven't
it with me, now
That s allfrighl Always oblige ■<
comrade. Dvou know Brickfield
Place i
" You .,/// hi
lit . • i s again.'
MAY 1922
THE- PI CTU RE-GOE-R
41
PA vsical Jilnes'P
Antonio Moreno is
always i» trai > in ■
to in, , : ,,, :,, nuous
>/< mands oj his film
a i
E
May Allison boxing with her nephew.
ven Professor Coue will
admit that while the men
tal may be superior to the physi
cal, it is none the less true that a healthy, well-
trained body is the best easing for a keen brain
and a clean character. Below you will find a
picture of Rex Davis, the British screen athlete,
skipping himself lit ; and those who know .Rex
best need the least convincing that he is the
ideal British boy -sound in body, clean in mind,
and, withal, a clever screen actor.
And, as you see in this page,
May Allison is wise enough to S
go in for physical jerks -and /
Ciiorge
Walsh
Tom Mi.\
/re i Pavts.
^^ Herbert Itawfinsmi.
V1»#*^
also wise enough to " take on " one who
does not tower above her in strength '
There are two worlds in which George
Walsh lives. One is the studio, and the
other the gymnasium. And I am told
that there is no feat of strength or
physical endurance common (or un-
common, for that matter) to the " gym. "
that George cannot do without pausing.
He has boxed with Dempsey, and
performed risky feats with Raoul
Brighton was the original training
ground for Herbert Rawlinson ;
and when he left the English
seaside place for America, he was
a perfect specimen of athletic man-
hood. And now he lives at the Los
Angeles Athletic Club, where he
goes through a regular course every
morning. His keenest interest is
swimming, and he recently created
a record by doing a mile in 20
minutes.
Another of the physical jcrkists
of the films is, ol course, Antonio
Moreno, whose boyhood's ideal was
a bull-fighter in his native land.
He trains when working, and trains
when playing ; everything he does
has to contribute to his physi< d
fitness His latesi game is water
polo, which he has found in develop
every muscle of the body.
And, finally, there is that monu
ment of strength, Tom Mix. He lives
on the assumption that every mo
ment must be " Training Time, and
every action must make him more
lit. To this end he runs his own ranch.
42
It takes a good deal of courage to
film ,i i lassie, not to speak of
other little things besides But
courage, firstly, because everybody
has read it and everybody visualises
it in ,i different way. In the ase oi
LittU Lord Fauntleroy, however, (Yd-
ric's " velvet suit and fair curls. "
Earl's " tallness, severity and mili-
tarv precision, and " Dearest 's " gentle
sweetness, are all accurately described
h\ Frances Hodgson Burnett. Straight
from the story, too, come the settings -
streets in New York as they looked
when ladies wore voluminous dresses,
ami bonnets instead ol hats. The
English settings, too, though filmed
partly at Burlinghame, California (ex-
teriors) and in the Brunton studios,
Los Angeles, are as realistic as they
are artistic, and the great rooms of
Dorincourt was the most elabor-
ate set ever put up. It was ol
plaster, like all movie sets, and k
i insisted of four huge rooms, richly-
furnished and arranged Everything
was so huge and towering, that the
tiny figure of Mary Pickford as the
little Lord" looks even tinier than
usual. In one or other of the two
roles (Mary plays both " Cedric " an<
his mother), the star appears in every
scene of the film ; sometimes she is
seen in both parts, a triumph this, of
double photography. For Mary looks
at least half a head taller as " Dearest
than she does as " Cedric " ! How did
she do it ? Was it high heels and a
wig with curls piled high a-top of her
THE PICTUREGOE-R
Little Lord
FaurjtlerO
MAY 1922
head ? Was it the camera's secret ?
Nobody knows, for Mary will not say.
She only shakes her pretty head wiseiy
and smiles. When Fauntleroy was
filmed, Douglas Fairbanks was at
work on the next set, and he super-
vised the fight between " Cedric " and
" Bevis " (Colin Kenny). The way
the little lord attacks whirlwind
fashion is typical of " Doug." From
strong emotion to wild comedy the
story travels, giving exceptional acting
chances to the star and the cast. All
the dearly-beloved characters are there:
" Mrs. Higgins " and her happy family
of twelve, ' The Grocer " (James
Marcus, who played the same role on
the stage in 1888), " The Irish Apple-
woman " (Kate Price), and " The Boot-
black " (Fred Malatesta). Madame
Bodamere, who plays " Mrs. Higgins,"
is Mary Pickford's own wardrobe mis-
tress and personal friend, and amongst
her little brood of children will be seen
Howard Ralston, William and Florence
O'Rourke and Cordon Griffith (all
appeared in ['olivet una), Violet Kad-
cliffe, May Fainter, and Boyd Acker-
man (to be seen this month in The
Love Light as well), and Florence Egan,
who has not played with Mary Pick-
ford since Daddy Long-Legs.
•II! " Little
I i Fauntleroy,"
ng Mary Pick-
ford 'ii the ilnal rSle
'I " Fauntleroy " and
Deaii
MAY 1922
THE PICTUR&GOE-R
43
-**
A close-up of Lillian and Doro-
thy, co-stars in " Orphans of
the Storm."
7^ hey came .before the heavy
plush curtains hand-in-
hand, as dainty a pair of pretty
sisters as one could find all over
the U.S.A. And we, whose
feelings had been harrowed and
harrowed as only D. W. Griffith
knows how to harrow them,
gave vent once more to our de-
light that the two persecuted
" Orphans of the Storm " had
triumphantly survived their sor-
sows. Of course, we had seen
them happy at last in the con-
cluding few hundred feet of
film, but it seemed to round off
matters beautifully to have them
step out upon the stage like
that —real, living girls — girls
who seemed as pleased to meet
us as we were to meet them.
They wore cute little frocks,
both alike, very simple, but very
cunning, something like their
Empire frocks at the end of the
film, and they looked perfectly
.sweet.
Dorothy, the tomboy Gish,
looked shy, very shy. She
started away by trying to look
at everyone at once, and finished
by standing gazing floorwards,
whilst Lillian, who is always
serene and sure of herself, made
a little speech. She spoke about
the film we had just seen, and
about D. W. Griffith, to whom
she gave lhanks for her success
very prettily, then smiled her
wise little smile and was fairly
pulled off the stage by Dorothy,
whose walk alone was enough
to make everybody feel good-
humoured. It was altogether
a most successful premilre, and it
was as just " one of the crowd "
that I found myself near the
stage-door afterwards watching
a dense mass of folks, mainly
girls, give the Gishes a final
send-off. They surrounded the
sisters, adoring and commenting
on Lillian's furs and Dorothy's
eyes, and raised a loud cheer as
their motor finally bore them
away.
Next day, at their hotel, we
44
THE- PICTUR&GOE-R
MAY 1922
lunched together,
Lillian and Dorothy
and Mrs. Klatch, their
lifelong friend, who
is touring with them.
I )id you like it ?"
said Lillian " You
looked as though you
did."
" Who wouldn't ? "
I assured her ; and
asked how they both
liked being mobbed.
" It's rather like
being the Lord Mayor
of the town," put in
Dorothy. " Only I
hope Lord Mayors
aren't as scared as
I am.- And Lillian's
as cool as a fish."
Dorothy screwed up
her face into one of
her inimitable gri-
maces, expressive of
envy, and then
laughed infectiously.
" She really is
nervous," came in
Lillian's gentle
tones. " Though
you mightn't
have be-
lieved it
Dorothy
and her
husband,
/ a m e s
Ken hi e.
Dorothy — a camera study.
if you had seen her play the
heroine when Jim's leading woman
fell ill that time in New York."
" It was ' Pot Luck,' the play"
Dorothy's voice was very doleful
And they hadn't any under-
study to hand, so they had to
take pot luck-— me."
She played in her husband's
(James Kennies) play as though
she'd been doing nothing else all
her life, and quite saved the
situation that night ; but though
she jokes about it in that funny,
mock-miserable fashion she has,
Dorothy says she only did it on
impulse.
You see, I want to go on the
st.i^c properly some time," she
told me. " I'm having
my voice trained for Lillian in
stage speaking, though " Broken^
I am not nearly ready Blossoms:'
yet. And so,
though I was ever
so pleased that I
knew the heroine's
part in 'Pot Luck'
(I went every
night to watch
Jim), I was dis-
appointed, also.
But, then, I'm
always being dis-
appointed, and
with myself, too."
Certainly the
pepful Gish is a
pessimist. Only,
very fortunately,
she gets a lot of
fun out of being
one, Ixuh forother
people and for
herself ; though
Dorothy may
never own it.
I accused her
of this, but all
she said was :
" Until I went
back to Mr. Grif-
fith again, I was
always making
comedies. Six
days out of every
seven I was busy
l>eing funny And
as that wasn't
enough to make
me a dyed-in-the-
wool pessimist, I went and married an
optimist." She shook her head sadly over
her own delinquencies, and we all laughed.
" We miss Jim a lot, now we've left him
behind in New York." Lillian's voice is clear,
though gentle and slightly hesitant, and she
thoroughly approves of her sister's marriage.
But, for herself, she prefers to remain single.
She is very fair and pale, and her great blue
eyes, so wonderfully wide apart and soulful,
seem eternally pondering over wise thoughts
of her own. She was seated, on a low couch
with her back towards the light, and the sun
shone on her pale, golden hair, coiled softly
upon her neck, bringing out all its
silken beauty Very reposeful, too,
is the eldest of the Gish girls ; she
uses her hands but little in ordinary-
speech, although on the screen their
nervous flutterings are a noticeable
part of her personality.
Dorothy is just the opposite. A
nervous little bunch of animation,
she is as restless as a bird, and w lien
she does subside, usually perches
herself upon the arm of a chair ; or,
if she does condescend to use an easy-
chair in the usual way, curls one foot
under her when seated. Dorothy has
always done this — ever since she was
a mite in socks. She speaks quickly,
too, Hashes out her comments upon
things in general, and emphasises
what she says with expressive move-
ments of her rounded arms and hands
She's not as plump as you would
expect to find her : she looks chubby
at times in The Orphans, despite her
sufferings.
We naturally talked about Orphans
MAY 1922
THE- PICTUR&GO&R
45
" It must be because I am the approved fragile type," she said,
quaintly, " that 1 always suffer so much on the screen. Or, perhaps,
because my director believes that stories like 'Way Down litis! and
The Orphans have the biggest human appeal. But even in the
first film-play Dorothy and I ever did (it was a Griffith one
reeler, long, long ago), we were chased up to the top of a house
by burglars, who tried to get at us through the stove-pipe
hole."
" Before that, though," chimed in Dorothy, " we were
on the stage. Not together, always. We'd have liked to,
but we couldn't choose. Father died when mother \\a^
only twenty-three, and we were quite mites. People
used to say Lillian would never live long enough to
get into her teens. She was so quiet and good. 1
wasn't. I used to gel into mischief, and get spanked,
and then Lillian cried — so much
and so pitifully that she used
to make everyone round
her do the same. There
was a friend of moth< r's
who hadn't many teeth,
and sh used to shake
her head over Lil-
lian— so." (Dorothy
showed us, wr i t h
great effect.)
" Dorothy would
never keep quiet,"
said Lillian, with that
heart-catching smile of
hers. " She was only a
little over four when she
played ' Little Willie ' in
' East Lynnc ' on tour.
1 was si\, and I was
Ji- playing the same
Dorothy looks
demure
and Lillian
in " The Greatest
Question."
of the Storm. " You would have liked our
dresses," Lillian said. " They were lavender
and rose-colour ; and, somehow, when I wore
mine, the big side-panniers I'd felt certain
would fidget me terribly, seemed quite natural.
And Dorothy and I looked exactly alike, just
as we nsed to when we were quite small, and
they had to make us wear different-coloured
ribbons to distinguish us."
" Theda Bara came once to see
working." This from Dorothy.
" And she asked Lillian
how she made up that way.
Lillian uses ever such a
little make-up ; less than I,
you know. Theda Bara
played in the first Two Orphans
production for Fox's, and she
watched us for a whole day,
and then said how very much
she'd like to work with
Mr. Griffith."
" Everyone says that," and
both girls grew enthusiastic
over their director, and
we all agreed that Griffith's
latest was also his very
greatest.
Lillian is exceedingly
modest about her
acting, although she
values the ap-
preciation she re-
ceives on all sides.
46
THE- PICTUREGOE-R
MAY 1922
part in another company. We kepi
right <>n with stage work. We had no
choice Some day I may return to it."
" I want her to," put in Dorothy
" And she want-, me to keep on doing
comedies."
I In Gishes come from Ohio. Lillian
was horn in Dayton, and Dorothy,
two years later, in Springfield.
" Hut we don't remember much
about either place," said Dorothy.
I in we lived in Marsillon, and we
know that place best. We always
have made personal appearances there
whenever we could."
Those days of one-night-stands must
have been very hard on the children.
They were always on the move, had
little time for sleeping, less for play,
and none at all for lessons. Only
then mother's watchful care ensured
them any sort of home - life and
education. Hut the stage folk were
very good to the frail-looking little
girls, and both cited many in-
stances of this.
" Your first sweetheart, Dorothy.
Do you remember ? "
" Oh, yes. He was Fiske O'Hara,
the popular actor, in whose company
I was ' the child.' He used to make
a great pet of me, and always said I
was his little wife. And then one
day everybody was shaking hands
with him and congratulating him,
and mother said I must do the same. I
Ami when I asked her the reason, j
she told me he'd just taken a wife, j
My Fiske O'Hara ! 1 was so very
nun h upset. Anyway, I went with
the others, and then 1 forgot what I
ought to have said, and wished him
Oval and Below : Dorothy Gish.
very many happy returns. T'gh !
Dorothy's grimace was really in-
describable.
" She was only seven," interposed
Lillian, " and though everybody was
amused over her funny little ways,
she was such a serious child that we
used to call her ' Grannie Gish.' '
Mamma Gish kept her babies to-
gether as long as possible, but though
melodramas flourished at that time,
most of them had only one child
part, and so Lillian, as the eldest
(she was ten), fared forth in the care
of a stranger. She quoted some of
those early melodramas : "In Con-
vict's Stripes," " East Lynne," " Her
First False Step," " At Duty's Call,"
' The Child Wife," " Dian O'Dare,"
" The Coward," " The Truth Tellers."
"And 'Editha's Burglar,'" put in Doro-
thy. " ' Editha ' was a comical role."
_ i,.?: ;•:;;«: w~
Then they met the Pickfords (Smiths
they were then), and Lillian and Mary
became fast friends We still are,"
Lillian told me " When Mary came
to New York, I saw her for the first
time for [ don't know how many
years, and we sat up in her hotel
room and talked the whole night
through. Douglas Fairbanks scolded
next day, but we had such a lot to
say to one another. Mary's very
first visit to New York was with us.
We all played together in The
Little Red Schoolhouse, the whole
Smith family, (Jack, Lottie and Mary),
and we had lots of fun together.
Then we went on tour, and the
Smiths stayed in. New York."
" And then I was ill, you re-
member," cried Dorothy, " and we
cancelled the tour. Because we had
nothing much to do, we went to watch
Mary make movies at the old Bio-
graph studio."
" Afterwards," Lillian reminisced,
" we were ' extras ' there for a while,
and then played in the last few
Biograph one-reelers. Then I went
with Mary to be a fairy in ' A Good
Little Devil,' the play which had
such a splendid long run, only I was
ill, and in the spring both Dorothy
and I joined Mr. Griffith's Triangle
Stock Company. There I played all
kinds of roles, even a ' vamp ' or two."
Can you visualise spirituelle Lillian
as a vamp ? She played in, amongst
others, Daphne and the Pirate, Diana
of the Follies, The Children Pay,
A House Built Upon Sand, The
Conscience of Hassan Hey, and Souls
Triumphant, under various directors.
[Continued on page 6:
A charming study of Lillian Gish.
MAY 1922
THE- PICTUREGOER
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THE- PICTUR&GOE-R
MAY 1922
<0
Inimals cue often the bugbear of the General
Utility Man's existence. He may be called
upon to supply any animal from a tut
i an elephant nt short i
ding ? Pearls of great
grizzly bear ? A cobra ?
Don't " ask me something easier
I in the G.U.M. at the studios, and
what I don't know about " props,
isn't worth writing an article about.
Publicity comes the way of most
"movie flesh." You hear and read
a lot about the " beautiful star,"
the scintillating genius which is
the producer, the handsome hero,
and the " world-famous author," but
the G.U.M. to you, dear Mr. and
Mrs. Public, is a nonentity,
I've managed to wriggle into this
series of articles, which claim to en-
lighten you on the " inside " of film
work, because I think I ought to be
here. I'm a useful and clever, though
modest and retiring, member of the
studio personnel. I hide my light
beneath a bushel, because I cannot
find a vacant spot in the film firmament
for my own particular star to shine
in— but if it ceased to twinkle
" behind the sets," films would be
a bit of a frost — I humbly assure
you !
I'm like the currant that makes
the plain cake " fancy " ; the
bone in the ham where the
meat is sweetest , the breath of
life to every film -play that's
born into this jolly old world.
This sounds strangely like " self-
recommendation," but I can't get
publicity through any other medium
— and, anyway, it you doubt my
right to assume such a gigantic
proportion in the element of
" necessity " in the studios, ask
the producer where he'd be with-
out his G.U.M. Again, with all
the modesty of the " hidden light,"
I nssure you that he would be
rliief mourner at his own funeral.
And now to justify
my inordinate vanity, I
will introduce you to a few of the
representative duties of the G.U.M. —
and leave you to judge what size I
should take in laurel wreaths.
The scene is a room in an " old-
world country cottage." The set is
ready to receive the producer and
his company of players. With a for-
lorn hope that everything is O.K.,
and that the producer will be satis-
fied (yet, withal, an almost certain
conviction that this amazing thing
cannot be), we await the verdict.
" Very nice," from the producer ;
" but, personally, I think we should
get a little more atmosphere into
' Aunt Matilda's ' part if we had a
parrot in a cage. Can it be done in
fifteen minutes ? "
Can it be done ? The query is
almost an insult to the G.U.M. The
producer knows he'll have " the
parrot in a cage " in less than fifteen
minutes. What's the G.U.M. there
for ? At the moment, his main
object in existing is to discover —
and deliver— " the parrot in a cage
in fifteen minutes."
A house-to-house tour of the neigh-
bourhood inevitably results in the
" discovery " of " the parrot in a
cage." But that is by no means the
easiest part of the G.U.M. 's job.
Invariably he has to call upon that
store of tact and charm, that gift of
gentle persuasion which will draw
from the fond owner of " the parrot
in a cage " the permission for the
valued bird to appear in the film.
Heaven, the parrot, its owner, and
the GUM. alone know what powers
of elocution are necessary to the
success of the mission.
But parrots are easy, and won't
serve to justify the vanity. The
pursuit of parrots is merely a pas-
time in the life of the G.U.M. His
real work consists of doing " far, far
greater things " than hunting parrots.
With all due respect to pretty Polly,
[Conlinutd on fiiigi <<•.
MAY 1V22
THE- PICTURGGOE-R
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MAY 1922
THE PICTUR&GO&R
5HADOWLAN D
CRITICAL -ABOUT PLAYS AND PLAYERS IN - current
GOSSIP PICTURES
Delightful Ina Claire has been long
an absentee from screenland.
She is, of course, first and foremost
a stage star, but her film work in The
Puppet Crown and other screen plays
shows her to be equally at home in
such a capacity. She was in London
for a season a few years ago, and her
powers of mimicry and musical comedy
work made her nearly as great a
favourite over here as in New York.
She is to be seen this month in a
screen version of Polly With a Past,
a farcical comedy in which Ina plays
a servant from the country who is
offered the chance of seeing a little
society life by posing as a French
enchantress. The reason of this is
that a certain lovelorn swain (played
by Ralph Graves) wants to make his
fiancee jealous by pretending to be
captured by the French charmer. But,
unfortunately for the success of his
little plot, the charmer does her work
so well that he really falls in love with
her, and they eventually marry.
Settings, photography and acting are
all exceedingly good.
George Be ban's releases are very
few and far between these days,
but his current one is a very good
specimen of his art. He wrote the
story, which is a simple one depicting
the fortunes of " Lupino Delchini,"
a brave, cheery, unselfish character,
who befriends everybody witliin range
and finds romance in the last reel.
Beban also directed One Alan in a
Million, and, needless to add, stars
in the title-role. He is aided by a
splendid and well-chosen cast, in-
cluding his small son, George Beban,
junior, one of the most natural screen-
children of to-day. The picture is
technically quite perfect, and the
simplicity of the story is beautifully
brought out, and its humour and
pathos shown with a light, but sure
and artistic touch. The characterisa-
tion is, perhaps, its strongest point
the people absolutely live. A clever
dog and parrot add considerably to
the charm of the production, and the
sub-titling is humorous and pathetic
by turns.
'"Fvvo regular thrillers on view this.
J. month are Prairie Trails, in
which Tom Mix stars, and 'Tiger 'True,
a Frank Mayo feature. Tom Mix's
drama has all the open-air stult one
usually expects and gets from him,
combined with a strong seasoning
of burlesque humour. The roping
and riding stunts are ingenious, and
there is an easily followed story with
Kathleen O'Connor as the heroine.
Tom Mix's acrobatic feats in this
film probably beat his own record.
Frank Mayo's film is a very crude,
almost brutal, story ot the underworld.
A vicious gangster dominates the
district, and " The Tiger " (Frank
Mayo) decides to put him in his place,
and they have a tremendous fight.
Battles royal rage throughout the
film, and the hero is remarkably
quick at getting his wounds healed.
In the final fight he emerges appar-
ently scatheless. Fritzi Brunette
makes a pretty, heroine, but this
feature is not one which recommends
itself to the fair sex.
Wallace Keid has an out-of-doors
story in The Love Special, in
which he appears as a road engineer,
who is told oft to act as guide to the
President of the Road (Theodore
Roberts) and his pretty daughter
(Agnes Ayrcs). This causes a good
deal of fun and, later, some quite
thrilling adventures, and ends, of
course, on a romantic note. There is
none too much suspense, but plenty
of action and humorous touch s
The action is all good and realistic,
and the backgrounds are mostly in
keeping. The wild ride at the end,
with the hero and heroine on a loco-
motive dashing over the mountain
roads, is exceedingly effective. This
film is a kincmatisation of Frank
Spearman's railroad story, ' The
Daughter of a Magnate," and in some
ways is reminiscent of The Valley
of the Giants, one of Reid's earlier
successes The genial Wally himself
has just finished a feature called The
Champion, in which he indulges in
52
THE- PICTUR&GOE-R
MAY 192J
much boxing and similar displays
of energy .mil muscle.
1 picture - lovers who remember the
Hepworth production oi The
Marriage oj William Ashe, with Alma
Taylor, Violet Hopson and Henry
Ainley in the leading roles, will be
amused to see how different arc
American ideas to ours. In the Yankee
version, which is now to be seen, the
wife of the Home Secretary is shown
walking abroad in Scotland (of all
places ') dressed in very short kilts
and bare-kneed. The way in which
British ladies of title resort to strong
terms when quarrelling at a public
entertainment, too, is absurd. Other-
wise the adaptation is very amusing,
and May Allison as " Lady Kitty,"
and Wyndham Standing as " William
Ashe," are excellent. This kinema
version does not follow the book at
all closely, and many incidents occur
which arc hardly justifiable. Some
lovely Venetian scenes are much to
the credit of the producer : all the
exteriors, in fact, are picturesque,
and the interior scenes lavish and
charming.
HPsuru Aoki stars alone in The Breath
J of the Gods, an elaborate six-
reel production which is rather long-
drawn out. It is a story of the time
ol the Russo-Japanese war, and al-
though there are no war scenes, all
the characters are in the Diplomatic
service, and the heroine has to choose
between love and duty. Being a
Japanese heroine, she naturally
chooses duty and marries a Japanese,
hoping that her knowledge of American
life (she had been studying at Wash
ington) would aid her country. But
love intervenes again in dramatic
fashion, and the heroine takes her
own life for the sake of patriotism.
Tsuru Aoki makes an altogether satis-
fa( tory heroine, as she has a difficult
role, and manages to be convincing
and natural throughout. The photo-
graphy is very fine, and the back-
grounds include some very beautiful
" shots " of Fujiyama, Japans sacred
mountain. The Japanese interior
sets are artistic, and the whole thing
thoroughly at one with Japanese ideals
am! ideas. 1'at O'Malley and Arthur
Carewe play the principal supporting
roles.
An oft-told story is that of the
rich, rather wild, but lovable
youth who sows his wild oats at the
feet of a gay " baby vamp," but
finally reforms and marries the nice
girl who'd loved him all along. But
Jack Pickford in The Man Who Had
Everything makes quite a likeable
chap of the hero, and the picture is
a. satisfactory one. As " Harry
Bullway," a multi-millionaire's son,
he is cursed by an old blind man in
these words : " May you always have
everything you want " ; and he finds,
when his father's millions become his,
and the " curse " materialises, that
the old beggar knew what he was
about. Alec B. Francis, who plays
this beggar-man, gives a specially good
performance. Lionel Belmore. as a
self-made man, is good ; so are Pris-
cilla Bonner as the heroine, and
Shannon Day as the vamp. Clyde
Cook, better known as a comedian
than camera-man, photographed this
picture. Latest reports from Los
tell us that Jack Pickford is not to
A scene from " Pay
Day," Charlie Chap-
lin's latest comedy.
I*> the star of A Tailor-Made Man,
after all, he having sold the story to
another company.
Along-cherished dream was realised
when Mary Pickford acquired
the right to film Little Lord Fauntleroy.
Mary had seen the stage version of
F. Hodgson Burnett's world-famous
story, when Elsie Leslie starred as
" Cedric," and wished ever since to
portray the poor little boy who
became a nobleman. The idea of
playing both the boy and his mother
was an afterthought, but one which
will commend itself to all picture-
goers when they see the film. It is a
triumph in every detail, from the
screen translation, which is more than
usually perfect, to the atmosphere,
direction and photography. The
double exposure work is wonderful,
and Mary manages as ' Dearest " to
look down upon herself as " Cedric "
by quite two inches. How she does
it is her secret (and the camera-
man's). She is lovable and restrained
as the mother, and a little ' better
than usual, if possible, as the son.
Her swagger for which she gives
Douglas Fairbanks the credit — is
delightful, so is her fight with the
other " boy " (Frances Marion). Claude
Gillingwater is a splendid "Earl of
Dorincourt," and the English country-
house settings are one of the features
of the production.
Elaine Hammerstein has another
i good story this month. Her
The Pleasure Seeker is a love-story,
but a singularly powerful and entirely
wholesome one. Elaine appears as
the ward of a clergyman, who. after
his death, marries a rich man and
returns with him to New York.
But his father frowns upon the
alliance, and the young pair have to
go to work. The young wife becomes
her father-in-law's stenographer (keep-
ing her identity a secret, of course),
and matters are proceeding smoothly
when the husband gets mixed up
with a gang of his old cronies. She
fights again, and wins. Frank Currier
gives a magnificent study of the old
broker, John Winchcll, whose every
mood In- shows us in masterly
fashion; and effective camera-work,
and good, natural direction, make up
a well-told ami thoroughly interesting
film play.
Mary Pickford has three releases
(one is a re-issue) this month,
but there will be no more for a long
while, for M.ir\ has not been working
since Fauntleroy was completed. The
re-issue, Heart oj the Hill'., is a story
of old Kentucky farm life, and Mary
has one of her familiar tomboy roles
at the beginning, becoming sweetly
civilised in the final reels. The film
has some delightful moments, one in
particular towards the end ot the
rustic " hop." 77 J oih J.i^/it is a
Frances Marion story, which gi\<s
Vlarj i \"'tv tragic r6le, not entirely
I .i lulled n« paff ■ i
MAY ]<T.2
THE PI CTU R. &GOE-P2
53
Persistent Lovers i
featuring
-/GUY NEWALL &
IVY DUKE (J
Procfucecf by
GUY MEWJULJL
A broery romance, replete with high-spirited fun,
yet containing a delightful love story. Ouy Newall
and Ivy Duke are at their best in this light-hearted
love idyll of the Norfolk Broads, and their adven-
tures provide one hundred per cent, pure enter-
tainment. Don't miss this great British
Q?org _
yproducHorQ
54
THE- PlCTUI5E-GO&f?
MAY 1922
Film Star
Sells
Watches
A curious camera position Chester H it hey directing
a strange shot /or a Wallace Reid future-
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suited to Iter. The plot is highly
artificial, too, and though the general
production is good, the film as a
whole cannot be called a winner.
It is the story of an Italian girl,
and much of the action takes place
in and on a lighthouse. It was the
outcome of ideas gathered by Francis
Marion and Mary Pickford when they
were in Italy many months ago.
Wonderfully realistic animal scenes
form the great attraction of
Kenan, the James Oliver Curwood
story in its screened form. There are
also tine snow and blizzard scenes, and
an unusual story, for the biography of
the wolf-dog " Kazan " and his mate
is the first consideration. A human
interest has been added, and we get
a hero, heroine and villain ; but the
four-legged actors are the most en-
grossing. Uncannily patient must the
directors and camera-man have been
to secure the necessary shots of so
many different animals, both wild
and tame, and, in the end, "Kazan "
the dog brings a murderer to jus-
tice after he had successfully evadeti
the law for some time. Snow-storms,
too, are undoubtedly the real thing,
though there is just one lapse which
keen -eyed " fault "-finders are sure to
spot sooner or later. Jane Novak
heads a very good cast, and Edwin
Wallock is an exceedingly realistic
villain. The dog " Kazan " seems
almost human in his intelligence, and
the atmosphere of the North is quite
perfect.
The younger of the fair Novak
sisters, Eva, also appears on
British screens this month. She plays
heroine in The Torrent, a feature that
seems as though it ought to have been
a serial. Action is rapid, and though
the story is obvious, it holds much
suspense in its primitive melodrama-
tics. The heroine jumps overboard
a yacht to save herself from a hated
husband. There is the usual con-
venient island upon which she is
seen later a refugee. Others are
likewise cast away there, and a gang
of villains and an aviator figure in
some romantic and thrilling episodes,
during which hero and heroine alter-
nately rescue one another. Jack Cur-
tis is a most repulsive villain ; Jack
Perrin a manly hero. He certainly
earns his money
in this film, for he
is tied fiat on his back to a floating
raft whilst the surf dashes over him.
The photography is good, especially
the storm at sea and the night scenes,
which were taken by the aid of power-
ful searchlights. Fans who like find-
ing " faults " should give this picture
their full attention.
France sends us this month one
none too interesting society
drama, with pretty Huguette Duflos
as its star. Its title is The Love Trap,
and though the story is common-
place, it is commendably simple, and
the acting good and generally con-
vincing. From Italy come two
dramas, the first a mystery photo-
play, in which a murder is committed,
and the identity of the man responsible
for it is cleverly concealed until the
very end. This features Rina Maggi,
and M. Parnol, and Emma Farnesi,
and will please most film fans. The
other is A Poor Young Man, with
Pina Menichelli and Gustave Salvini
in the principal roles, and is a society
story with an unusual type of heroine.
It is well produced, and the characters
are interesting, though the acting,
which is of the usual Italian quality, will
irritate some folk by its peculiarities.
Dramatic situations abound in Just
Outside the Door, in which J.
Barney Sherry, Betty Blythe, and
Edith Hallor play the chief parts.
The story hinges upon a millionaire
employer's infatuation for a girl, the
welfare secretary of a big factory. She
has a brother who is a ne'er-do-well,
and to save him she does everything
in her power and is befriended by
the fiancee of the millionaire. It is
a somewhat complicated plot, and
crowded with incident, which, how-
ever, is so well handled that the
drama of it grips all the time. The
feature is beautifully produced, and
some lovely garden and interior scenes
are shown. The benevolent-looking
middle-aged millionaire, played by
J . Barney Sherry, is the most inter-
esting of the characters ; Betty Blythe
makes sympathetic a rather unsym
pathetic character ; and Edith Hallor
is an intense and quite satisfactory
heroine. The long-drawn-out police
[Continued ••« pagi 56,
MAY 1922
THE PICTUf?EGOER
55
Who's Who
in this Picture ?
E v f r y // / m
fan should know.
H
ERES an interest-
ing little puzzle for
you which you will
find in that very entertain-
ingsection of" PICTURES"
called "Behind the
Screen." If you are a
good film fan, you will
soon solve it. Try . . .
and afterwards be sure
and read the six splendid
film stories awaiting you
in the May Number.
Thev are especially good
even for "PICTURES"!
6 4
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56
THE- PICTUf?EGOE-f2
MAY 1922
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MAGNIFICENT PHOTO-
GRAVURE PORTRAITS
M VkY PICKVOKD, CHARLES ( HAI'LIN, |
i N'OKMA TAL.UADGE, MARY MILES I
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chase .it the end provides a good deal
of excitement, and is a fitting con-
clusion to an attractive film.
An exceptionally good release is
The Secret Gift, which features
Gladys Walton, Lee Kohlmar and
Rudolph Christian. . The story is one
of great heart interest, and the acting
the best to be seen this month.
The plot mainly concerns two elderly
bi others, one of whom is ready to
take the blame for a crime the other
committed, although there is a boy
and girl love -story as "well. The
photography is very good, and the
production technically excellent.
Gladys Walton is a splendid little
artiste (she is a star now), and many of
her latter vehicles show her in comedy-
drama and comedy as opposed to the
more dramatic roles she undertakes
successfully when she chooses. Lee
Kohlmar is a stage player who came
over to London to supervise the pro-
duction of one of the " Potash and
Perlm utter " plays. He excels in
character work, but does not confine
himself exclusively to it. He has
not made many films, his stage
activities leaving him little time for
them.
\good British social drama is
Kitty Tailleur, which stars lovely
Marjorie Hume. Adapted from May
Sinclair's novel, it is a well-made
story, and the characters are ignite
lifelike. The two sisters, the principal
characters in it, supply the chief
interest, and Marjorie Hume is artistic
all the .while as the unhappy and
pathetic heroine, whilst Nora Hayden,
as the affectionately simple sister, is
an effective foil to her. The ending
of the film is out of the ordinary, for
it does not end completely ; it leaves
off at a sorrowful point in the story,
and the onlooker is left to finish it as
he feels disposed. 'There is no really
good reason why the two principals
should not marry. The mysterious
character of " Kitty " is well sustained
throughout, and scenic effe< ts arc
good and picturesque, for the play
was made in the Italian Riviera amid
natural lovely settings.
"\ Tonte Pine's April release does
IV J. not match up to The Fighting
Schoolmaster, although it has the same
rural backgrounds and feuds. It is
too serious altogether : the action is
serious, the characterisation more
serious, and Monte Pine most serious.
'The plot is an obvious one, but this
mighi have been camouflaged success-
fully, had more movement and inci-
dent been introduced. 'There are too
many talky sub-titles, too, parts of
the film being merely illustrated con-
versations between the rugged lawyer
from the hills (Monte Blue) and the
aristocrat from Blue Grass (Wilfred
Lytell). Monte Blue is not entirely
sympathetic as the homespun hero,
whose sense of honour is too strong
to allow him to help his convict
brother to escape. The Kentucky
backgrounds, though, are charming,
and compensate for a good deal that
is not. Mountain, valley, and hill,
winding roads and glorious sunsets,
are well displayed to give the picture
its correct atmosphere. It is from the
novel by John Fox, junior.
Picturegoers who enjoyed The Fifth
Form at St. Dominic's should
be sure not to miss It's a Great Life.
This is a story about an American
boys' school, showing various inci-
dents in the lives of the students
and masters in a " prep." school.
There is little plot, but every scene
will entertain, even though the specta-
tors have left their schooldays a
long way behind. The humour is of
the Mark Twain variety, and the boys,
especially the two chief characters,
" Stoddard " (Cullen Landis) and
" The Wop " (Howard Ralston), are
[Continual on page $H.
ksfegp
Write fm Jrrr list of Kinema Novelties.
PICTURES, Ltd.,
| 88, Long Acre, London, W.C. 2. j
IIIIIIIIIIIIHIIIIIIIIIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIIIMIIII 'HllllMllllllim,7
A " ship " scene,
built to be wrecked
for one of George Mel-
ford's productions.
THE PICTUPEGOtR
IN Marv Find the Gold,
we have another of those
homely, true-to-life screen ; ij -
that abound with touch* ■
tender sentiment and delightful
humour, so i harai tei i>ii< <>t
Mr, George Pear>on, tin clever
authoi - producer. 1 he film
features Mis^ Betty Balfour, the
talented little actress who n
her initial screen appearance in
Nothing Else .)/-£/• She
will win the sympathies of any
audience in the role of Mary
Smith, a wholesome and affec-
tionate little country ^irl u
aim in life is to •• rind yold,'' and
so provide for her father in his
old ajze.
A BRITISH
PICTURE
NOT TO BE
56
THE- PI CTU R E-GOE-R
MAY 1922
Mae Murray
(at table)
lunchi ng
" between
sets."
Bob Leonard, Mac'i
director-husband, is
seen in the right-
hand corner.
Walter West
Productions.
'"pi-IE first item on the programme of
-*■ films to be released under the
auspices of the .recently formed British
National Film League is a romance of the
ateel industry, which has been made
under the direction of the foremost of our
British producers, Mr. Walter West.
Starring in this film, which is adapted
from Paul Trent's famous novel, " When
Greek Meets Greek," are Violet Hopson
and Stewart Rome, who are too well
known to the British public to need any
introduction.
Mr. Walter West has recently launched
out as an independent producer, and in
future all films made under his direction
will be known as Walter West Pro-
ductions, and will be distributed through
Butcher's Film Service. In them will
feature the foremost British screen stars,
and each story will be carefully selected
or specially written for the screen.
In his new studio, which is conveniently
situated at Kew, Mr. Walter West has
installed all the most up-to-date lighting
and technical equipment, lie lias gathered
round him a staff of workmen who.
through long experience in and association
with the industry, are expert craftsmen.
It is Mr, West's ambition to give the
British picturegoers the world over
typically British films films which every
Britisher, whether in the United King-
dom, in the Colonies, or abroad, wants to
see.
The pioneer of the racing film, Mr.
West hiis recently completed a film of the
Tun which will undoubtedly prove even
more popular than Kissing Cup's Race.
It is entitled Scarlet I. adv. was produced
from a story specially written for Miss
Violet Hopson, who stars in the pro-
duction, and contains racecourse thrills
which have been acknowledged as the
licsl eve included in a motion picture.
real boys, doing all those things
every boy does, including building
castles in the air and falling in love.
Howard Ralston was " Jimmie Bean,"
in Pollvanna, which appeared this
time last year. Clara Horton and
Molly Malone play little girl roles
very sweetly, and Ralph Bushman,
son of Francis Bushman, makes the
most of a small part. Mary Roberts
Rinehart wrote the story, which is
not very far behind her immortal
Twenty-Three-and-Half Hours' Leave.
Some of the " castle':in-the-air " visual-
isations are quite spectacular, and are
finely produced.
Sara McNaughton's novel, ' The
Fortune of Christina M'Nab,"
has been very effectively filmed. Its
characterisation is its best point,
each character being convincingly and
carefully depicted. Sub-titling, too, is
good, most of it being in broad Scots,
yet not too broad for the film lover's
understanding. There are some fine
society scenes, the ball, with its
flashlight effects, being particularly
charming. Nora Swinburne is a de-
lightful " Christina." This somewhat
unusual character she makes always
lovable and real, even in the most
farcical incidents. David Hawthorne
plays her lover, and the supporting
cast is thoroughly good. It is a
British production, and the first in
which David Hawthorne is seen in a
leading role this year.
Avery good cas*t support Ethel
Clavton in The Price of Possession,
which is a mild, though interesting,
story, and should appeal specially to
feminine picturegoers. Rockcliffe Fel-
lowcs is the leading man ; Reginald
Denny also has a good role. Two
claims are entered for a big English
estate, one by an Australian widow
(played by Ethel Clayton), and one
by her husband's cousin. It is not
difficult to surmise what happens next
,ind that they finally agree to share
the estate together. But the details,
acting and technique are excellent,
and Ethel Clayton is her usual sincere
self. She always strives to put her
best into whatever she does, which
is one of the reasons for her large
following amongst film lovers. The
determined manner in which the two
contestants carry out their claim is
cleverly shown, the continuity is good
throughout, and there is quite enough
comedy relief to make an agreeable
picture.
There seems no end to the country-
boy characterisations of Charles
Ray, and these are always welcome,
for Ray's style is inimitable. In The
Village Sleuth, which is a picturisation
of Agnes Christine Johnston's novel, he
has a quite impossible story about
one William Wells, whose sole aim in
life is to become a detective. His
idols are Nick Carter, Sherlock Holmes,
etc., and he neglects his occupation
of tending cows, horses and chickens
to hunt up clues. Eventually, to his
delight, he gets a chance to do a little
" detecting," for his lady-love is sus-
pected of murder. The action goes
forward swiftly and ends in a big
chase, after which the murdered victim
turns up alive. Charles Ray is un-
deniably ' good as the farmer-boy
sleuth, and the film is rich in local
colour and natural homely touches.
His newest film, The Barnstormer, is
just finished.
Serial lovers will eagerly flock to see
the three new thrillers available
this month. Eileen Sedgwick stars
in The Diamond Queen, a feature in
which the resources of this daring
star are taxed to the uttermost and
many wild and wonderful stunts are
performed. Sick Carter is, as its
name implies, a detective serial. In
The Yellow Arm, Juanita Hansen and
Margaret Courtdt are the heroines,
and Warner Oland is once more a
sinister Oriental villain, pursuing his
evil practices through every episode,
and being duly disposed of at the end.
Warner Oland s plans of reformation
do not seem to have materialised, so
[Continued n page ho.
MAY 1922
THE- PICTUf?&GOE-f5
59
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60
THE PlCTUf2&GOtR
MAY 192?.
far ; he seems to go from bad to worse
in each serial, and no better screen
Chinese could be found than Warner,
w ho certainly looks the perfect Oriental.
Robert McKim on the screen is
everyone's ideal of all a good old-
fashioned villain ought to be, and in
The Money Changers he has a real roar-
ing melodrama in which to be wicked.
It is crammed with true melodramatic
ingredients, including a drug king, lots
of Chinamen, a big politician who is a
crook, the powerful villain who deals
in souls and drugs, and everything else
you can think of. Many scenes take
place in Chinatown, ending in a big
fight, which is somewhat drawn out.
However, the police do not seem to
have hurried themselves to put an end
to it. though they </<> appear and
restore order later. Ail venture and
intrigue are here in chunks, and
picturegOers who enjoy a tense hour or
so will find The Money Changers good
value. Roy Stewart and Claire Adams
play leading roles, and the long sup-
porting cast do excellent work. L'pton
Sinclair wrote the story on which the
film was based.
M< Kim is a native of California ;
he first saw the light at San
Jacinto, a little desert town, and was
educated at Berkeley. He commenced
acting in San Francisco, and was at
one time Lily Langtry's leading man.
Koher is an adept at iniquity of all
kinds. Here's a list of a lew crimes he
has committed on the screen : In kjig
he shot ,i paralytic who was helpless,
wrecked a train and killed a host of
innocent infants on their way home
from a school treat, set fire to a hos-
pital full of wounded men, poisoned a
bridal cake, ran away with umpteen
wives (including his best friend's), stole
Salvation Army funds, and ended his
year by blowing up a Home for old
ladies with dynamite; and nineteen-.
Orphans of the Storm."
twenty and twenty-one's records are
worse ; but in his newest screen -play,
A Certain Rich Man, he has his best
part to date and is not a villain.
McKim does a good deal of directing
as well as acting.
Henry Arthur Jones wrote a play
called " Michael and His Lost
Angel," which had a short-lived run in
London some years ago. Now it has
been translated to the screen, and has
acquired the intriguing title of Whis-
pering Devils. It is the drama of a
man's struggle against evil forces, and
Conway Tearle plays the clergyman,
" Michael," and Rosemary Theby,
Audrey " (the Lost Angel). Tearle's
admirers will like him in this powerful
characterisation of a Welsh minister
whose meeting with a beautiful woman
has such momentous results. Some
beautiful and picturesque settings add
much to the charm of a strong and
well-acted feature, which is exceed-
ingly good as to direction and sub-
titles. Conway Tearle made a brief
return to the stage of late, but is
resuming film work very shortly.
Like Ktpps, A Dear Fool, which also
stars George K. Arthur, is almost
a one-character film-play. " G. K.,"
who plays the whimsical reporter-
author-hero, pleased the author of the
book (" Artemas ") by his interpre-
tation, and will be certain to please
picturegoers. He appears in almost
every scene, and his pleasing person-
ality and the way he takes life and
affairs just as they come dominates the
film. The other characters have been
rather subordinated to his, but Edna
Flugrath docs her best as a girl
reporter, and Edward O'Neil is a
natural-looking editor. Bertie Wright,
too, is good in a caricature role.
British comedy-drama is somewhat
rare, but this otu> is an excellent
example of its kind, and George K.
Arthur deepens the pleasant impression
he gave in Kipp^.
Harry Carey's May release is a
fascinating blend of action,
suspense, humour, thrills and ro-
mance, and will delight his large
circle of admirers. In the title-role
[lilue Streak McCoy) Carey is a happy-
go-lucky cowboy in love with a girl
from the East, and the part gives him
more chances for humour and charac-
terisation than usual. Some effective
work is done by the late " Breezy "
EasOn as Carey's boy chum, a role
the poor little fellow filled in real
life, for his father, Reeves Eason,
was Harry Carey's director, and the
little star and the big one were almost
always to be seen in each other's
company.
You can't look beautiful when
you're doing your own house-
work. You can't look even nice — unless
you're in a film." This was the pro-
nouncement of a film fan at the end
of an Ethel Clayton screen-play.
True it is that this star, who specialises
in " home " stories, always contrives
to look " nice " whether she is seen
cooking luncheon or cleaning house.
But, then, like all shrewd housewives,
film or otherwise, she pays great
attention to her attire. Observant
fans must have noticed ,how she
always covers her dainty frock with
an equally dainty overall. And every-
one else who does the same will find
that " you can look nice even amid
the throes of house-cleaning." De-
lightful house-frocks and overalls are
obtainable nowadays, and some of
the prettiest come from The Stand
Mill Company, Ltd., 7, Bradley Street,
Manchester. A post - card to the
makers at the address mentioned above
will bring you full particulars,
patterns, and colours of these pretty
and practical garments, which arc not
at all expensive.
It is not surprising that the kine-
matograph exerts an increasing
appeal to- those who have the good
fortune to possess an artistic tempera-
ment. It is, however, surprising how
few people cultivate the artistic gift —
especially as there are to-day so many
openings for men and women who can
make the kind of sketches arid designs
that are wanted, and well-paid for, by
the leading advertisers.
There are two essentials for success —
the right temperament and the right
training. If you have the former you
may now obtain the latter by corre-
spondence, in yotir leisure time at home.
If doubtful about your natural abil-
ity and you send a specimen sketch to
Mr.Chas.E. Dawson -of " Dawson Girl"
fame — at 57, Berners, Street, W.I, you
will receive from him an expert
opinion on your chances of success in
the fascinating profession, and. as vou
are a reader of " PICTUREGOER,"
you can thus secure professional advice
from this well-known artist free of all
cost.
1AY 1922
THE PlCTUf?EGOE-R
61
^OYYGDdburri'
THE refreshing atmosphere of the wide
open spaces of the English country-
side, the thrill of the race-course, the quiet
seclusion of a little farm-house, the hustle of
an amateur trainiug centre, the zest and
enthusiasm of the youthful stable lad for the
horses under his care, the devotion of a
country girl for those around her, her victory
over her enemies, and the love of a man lor
a maid — all this and a great deal more has
been introduced by Guy Newall into his latest
production, B»y Woodburn.
Adapted from the novel by Alfred Ollivant,
this George Clark picture stars Ivy Duke
as "Boy" Woodburn, and Guy Newall as
Jim 'Silver, with a supporting cast selected
from types who are living replicas of those
characters which the author introduced mt>.
this storv.
George Clark Pictures Lt4
(GUV NEWALL PRODUCTION)
62
THE- PI CTU R&GO&R
MAY 1922
A TALE OF TWO GISHES.
i Continued from Page 4b i
" My part in Intolerance (Griffith's
master production) took about two
hours to film. It was just a series of
poses of me rocking a cradle. Wasn't
it strange that the critics liked it so
much ? Intolerance took over two
years to make. It was wonderful
the way it all grew out of the modern
story, which was afterwards released
separately as The Mother and the
Law."
Griffith, I learned, made that story
four times. He always films every-
thing many times over before he is
satisfied. Also, he had no script for
Intolerance, carrying that mighty story
entirely in his own brain. Dorothy,
too, was in that film, but as she
quaintly avers, " Not so as you'd
notice it."
Dorothy, meantime, had made one
serious story, The Mountain Rat, and
one semi-serious, Betty of Greystone.
Then came Jordan is a Hard Road,
with Owen Moore opposite. " It was a
hard road," Dorothy grinned. " Then
I was in Little Meena's Romance and
Sweet Seventeen. (I was out to reform
the world in that play.) I finally
reformed a prize-fighter (Owen Moore),
and we married in the last reel. The
Little School Ma'am was another
Triangle drama. It was in 191 7 that
I went to Selznick for awhile ; Gretchen
the Greenhorn was one of my features.
I remember pulling Natalie Talmadge
out of the water whilst we were
making that. She fell out of a steam
launch, and she couldn't swim. I was
in full make-up, and just about half
Natalie's size, though she's not so
very tall. Natalie was so scared
we had to cease filming for the
day."
Lillian's first real triumph was in
Hearts of the World (Griffith's direction),
although her work in Birth of a Nation
(Griffith's big spectacular) was favour-
ably discussed.
" Broken Blossoms some consider
my best," Lillian said. " Dorothy
was with Paramount making comedies
whilst I played ' The Child.' There
were only three leads in that film,
and it took far less time than most
of Griffith's films, and yet it was the
one which fully established his fame
in Europe."
How did you manage to express
that poor child's terror with such
wonderful truth ? " I had to ask
Lillian.
I was terrified. Absolutely so.
You see, I always feel my parts
intensely. They are perfectly real to
me. So it was with ' Anna Moore ' in
Way Down Last. I was dubious about
accepting that role. My venture by
myself had come to an untimely end,
as I daresay you remember, but it
was a tremendous undertaking, even
with Mr. Griffith behind me."
Lillian recounted how the company
spent eight weeks in Vermont, amongst
the simple country folk, whose artless
lives are shown in that famous old
classic She shivered as she told me
how for' weeks they worked in the
bitter cold out on the ice making
those tense scenes that finish the film.
" Oh, I had no double," she said.
" I really did lie down on that block
of ice, which was released down-
stream, and photographed again and
again with me on it.
" When I was in London," Lillian
continued, " a German bomb struck
a school-house there, not very far
from us. We went there shortly after-
wards and saw the terrible, almost
hysterical, grief of the mothers search-
ing for their children. Afterwards,
when I came to play ' Anna Moore,'
something of what I saw undoubtedly
came back to be. I truly felt Anna's
terrible grief when she lost her
baby."
She made thousands feel it with her,
as everyone who has seen the film
will agree.
One of her favourite day-dreams used
to be of herself as a directress.
" But oh, the reality ! " gurgled
Dorothy, who was her sister's star
performer.
*' She found it was not all she had
imagined, though the picture, Re-
modelling Her Husband, was a success-
ful one. It was one of the three in
which Jim (James Rennie, my real
husband now) and 1 played husband
and wife on the screen. The others
were Flying Pat and Little Miss
Rebellion. Lillian was as serene as
ever, though, while we remodelled, and
no one wotdd have guessed at her real
feelings."
" Never again ! " said Lillian, with
conviction.
Of their future plans the two sisters
were undecided. Dorothy wants
another serious role, like " Louise " in
Orphans of the Stdrm ; she also wants
to go on the stage and take Lillian
with her. ' Lillian may or may not be
appearing in the next Griffith pro-
duction. It lies between her and Carol
Dempster. For the moment they are
appearing each week at a different
town in connection with the film
Orphans of the Storm, and being feted
and adored to an extent that would
spoil girls less unaffected than these.
Both stars appreciate the fact that,
for the first time in Griffith history,
their names appear on the posters of
Orphans of the Storm. Like him, they
began when the films began, and they
will last as long as films last. 'We
talked until it was time for Lillian
and Dorothy to leave for the theatre.
"Ouch!" said Dorothy Gish as I
bade them good-bye. " I shall never
get over that scared feeling of mine if
I live to be a hundred."
" Never mind, dear ! " Lillian patted
her arm soothingly. " I'll take care
of you." She is like that — Lillian.
They waved merrily from the window
to me, Dorothy looking pensive and
Lillian smiling. Which is the reverse
of their usual screen tactics. But is a
fair indication of the real personalities
of the two little Gishes. v. McConnsll.
THE GENERAL UTILITY MAN.
{Continued from Puge 48.)
the G.U.M. classifies her in the " also
ran " category of the orchid in bloom,
fishing-rods, cooked potatoes, roast
beef, or Russian cigarettes.
The G.U.M. , who was once asked by
the stage director to find, " at any
cost," a pure white, unmarked cat for
use in a film, remembers with cold
shivers and shaking knees the decidedly
unpleasant quest for that cat. Starting
out from the studios, armed with
i-everal addresses which might harbour
the potential feline film star, the
G.U.M. took his smile and his elo-
quence to each of the possible owners.
Not until he had nearly exhausted his
list did he come across the perfect
specimen of cat which the screen story
demanded, and then, to his utter
dismay, the dear old lady who owned
it firmly refused to listen to the mere
suggestion.
The incident is best described in the
words of the G.U.M. concerned.
" I pleaded, coaxed, sobbed, risked
the perfect crease in my trousers to go
on my bended knees to the dear old
lady. But all of no avail. She was
adamant ! However, she invited me
to remain and have tea. While
we were taking tea, a young and
delightfully pretty girl of some seven-
teen years burst into the room and
greeted ' Grannie.' She was en-
lightened as to the cause of my pre-
sence in the house, and, on learning
the nature of my mission, she jumped
about excitedly, exclaiming —
" ' How perfectly lovely to have
" Purity " on the pictures, Gran ! '
I noted a significant softening of
Grannie's blue eyes, and a gentle
quiver of her wrinkled old lips. It
was apparent that her love for her
grandchild was even greater than the
affection she cherished for Purity, and
the outcome was that she gave her
reluctant consent to lending me Purity.
" I had to return to the studios by
train. Purity was carefully deposited
on a silk cushion in the roomy interior
of a beautiful basket and entrusted to
my care. I placed the basket (and
Purity) in the rack of the carriage,
and — can you wonder at the lapse — fell
asleep and dreamt— of white cats !
When 1 awoke, suddenly and some-
what embarrassed — for my feilow-
passengers were gazing at me as
though ' 1 had committed a brutal
crime — I found myself at the station,
which meant the studios, and
I jumped out quickly Horrors !
Three minutes later I remembered
Purity, and she was travelling away —
away — from me to the unknown
beyond !
" Of course, violent and immediate
endeavours to get into touch with the
next — and the next — and even the
next station down the line resulted in
Purity being restored to my arms,
but I still tremble to contemplate
what life would have meant for me if
I had had to confess to the loss of
Puritv ! "
MAY 1922
THE PlCTUREGOtr?
63
All
Picturegoers
should
CHOOSE
for their new
Blousesjumpers,
Dresses, Child-
ren's Frocks, etc.
" LUVISCA " is
the material that
looks like silk, is
more durable than
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37 - 38 ins. wide.
Swiped 1/111
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Plain ,
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is
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If any difficulty in oblainin
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LUVISCA " please write to the Manufacturers,
S, Lid. (Dept. 86). 19, Aldermanbury, London, E.C.2. who
will send you the name of the nearest retailer selling it. and an illustrated
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i
i
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If your ankles are thick and puffy, or if you have a double chin,
let ROOIOD remove the superfluous flesh. RODIOO
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Cleanse and soften it with
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The Beauty-wise always do this,
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1
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53
HAVE YOU TRIED IT_?
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64
THE- PI CTU rSE-GOE-P
MAY 1 •:.:
FORBIDDEN FRUIT.
{Continued from Paj;r 4*<i
He explained its whereabouts at
great length.
" Come there to-night after dark
number twelve. No cops, mind ! Come
alone Bring the tinkle with you."
" Will Mary
' That's where the ' praps comes
in, boss We'll ave to sec
Number iz. Brickfield Place, was an
inferno in little. Not at all the
sort of place where one would advertise
the possession of ten thousand dollars
Nelson turned his collar up and kept
his head low as he entered the alley
that led to it. He tapped upon the
door and waited.
Soon it was opened and the face of
Mary's husband appeared.
" Hallo, boss ! Step right in. Don't
be afraid. No harm '11 come to you.
Not such a fool as to damage my bank.''
Nelson stepped into the room — an
evil place lighted by a solitary candle.
On a box a vile man of foreign appear-
ance was sitting. He looked up with
a grin as Nelson entered.
" My partner," Maddock explained.
" His idea. We share. Got it ?
Nelson passed the money across the
table.
" Good old boss ! That's the stuff !
Well — good-night ! "
" Mary—" said Nelson.
" Dunno where she is," grinned
Maddock.
Nelson walked to the door.
" You'll hear from us again," said
Maddock. " Hut this'll last us some
time. Good-night."
Nelson went out without a word. In
the street he paused, and then took up
a post in a dark doorway opposite.
Ten minutes he waited. And then,
hearing the sound of blows and a
quarrel from behind the door of
No. i z, he turned on his heel and went
for the police.
Facing each other across the gutter-
ing candle, Steve Maddock and the
foreign " partner," whose name was
Giuseppe, were trying to come to terms.
Six for me and four for you,"
Maddock hinted.
" And I'll cut your throat ! "snarled
Giuseppe.
' It's fair ! "
" Try it ! "
Maddock swung up with a grimate,
lapping his chest.
" Well ? "
" It's my scheme !
" Yes ? An' she's my wife, ain't
she ? Fine scheme it'cl ave been, eh,
left to itself f Scheme's ain't all the
noise, Giuseppe, my old cell-mate.
What about 'oly matrimony ? What
about that ? And ver forgettin I
got the money."
Giuseppe moved forward round
the table and approached Maddock.
Maddock retreated, his hand reaching
to his hip-pocket
Yes ' " laughed Giuseppe. You
got the money But 1 will have it."
" Watch out,' laughed Maddock.
" I'm watching !
At that moment a scream rang out
from the room above, there was a
pattering of feet on the stairs, and
Mary's voice was heard from behind
the door that led upstairs.
" Steve ! What is it ? What are you
doing now ? Is that Giuseppe ? I
thought 1 heard "
" Never you mind what you thought,
my blushing bride ! You hop it back
to bed."
He turned again to Giuseppe.
" Now then — six and four ? Or do
I finish you ? I got the money, you
know. What is it ? I give you two
minutes. See ! " He counted the
money over and cast four thousand
dollars upon the table. " Fair's fair,
my bonny fresco. Take it and run."
" Yes, I'll take it ! " the foreigner
laughed. " I'll take it. Fact is — I'm
coming for it now."
His hand swept the table, and the
candle was knocked over and extin-
guished. At the same moment a shot
rang out, and another, followed by a
laugh.
" Missed ! " cried Maddock. ' " Try
shootin'."
The two men crept round in the
darkness, " sensing " the enemy, wait-
ing. Maddock listened for the other's
breathing. And then he listened more
intently- to another sound.
From outside in the street came the
sound of many running feet.
' The cops ! Righto ! Blaze
away !
He fired three more shots, and they
were echoed from the gun across the
room. Laughter from each side told
of misses.
And then came a thumping on the
outer door, and an authoritative
demand that the door be opened.
" Open it yourself ! " yelled Mad-
dock, blazing away into the opposite
corner. " I'm busy !
The police drew back outside, and
with them Nelson Rogers.
We might force the windows," he
suggested.
" Barred ! " said one of the officers.
I know the house."
" Then "
He stopped and listened. From
somewhere a voice— a voice he knew.
" Mr. Rogers ! "
He looked up and saw Mary at an
upper window.
Mary ' "
(an yon — climb ? There's murder
in the house. Who is with you ? "
Wait ! " said Nelson. He turned
to the officers, and they stooped to
make a human ladder. He sw-ung him-
self up, clutched at the sill and clam-
bered into the room. From below shots
were ringing out now without cessation,
and a loud scream was heard.
I have a key for the bottom door,"
Mary whispered. " I had to — to pro-
tect myself. We can get through."
Two of the policemen were now
behind them in the room.
" Give me the key, " said Nelson.
" You must stay here."
He turned to the door, followed by
the officers. For a brief second she
sought to detain him.
Take care."
" For -somebody's sake. Yes."
He hurried downstairs, the police
close behind, and at the bottom lis-
tened carefully as he inserted the key
in the lock. All was quiet now in the
little kitchen. He motioned to the
nearest policeman to get his lantern
ready, and then he flung open the
door and dashed through.
. A dark form sprang up out of the
shadows as he passed through. He
spun round and threw out his fist. It
crashed into something soft, and the
dark form fell.
So much for you, friend Maddock,"
he laughed.
The police struck a light, and they
bent over the fallen man. It was
Giuseppe. Nelson looked around, and
saw, crumpled in the other corner,
Maddock, his head bent over — dead !
" Your business," he said tersely to
the police. Then he turned and groped
his way back upstairs.
Mary was waiting calmly by the
little table.
What "
" Your husband is — dead."
Her head dropped, and her hand
clutched at the table's edge. Nelson
crossed the room and took it in his.
" You must leave here, and at once."
She did not speak.
" You must come — home. As soon
as we can. . . . Do vou understand ?
I "
'" Yes," she said, softly. " I under-
stand. I will come — home."
"QUALITY
AND
FLAVOUR"
DOURNYILLECocoA
I J SEE THE NAME (^(11311^
MADE UNDER
IDEAL
CONDITIONS
ON EVERY PIECE OF CHOCOLATE.
MAY 1922
THE PICTUR&GOtf?
65
This is one oj th< dining room
guiles which tan be i«
in the Ire,; Fuinitur, Prize.
A
House of Furniture
FREE !
A SIMPLE competition in which
every one may compete. By special
arrangement with the Famous House-
Furnishers, Messrs. Downings,
"EVERY WOMAN'S" is giving a
^250 House of Furniture Free in a
novel competition commencing in the
issue on sale Monday, May 15.
. , Think what it
* !
FREE
PATTERNS j
insitle 1
hveryiuonian s. \
Tennis Frock in t
issue.dat ed A frit 29, I
Blouse in issue \
dated May 6, 1
Mazer in issue ]
dated May 13.
means ! A House
of Furniture to the
value of £2}o !
You may roam
at your leisure
through the re-
nowned show gal-
leries of Messrs.
Downings and se-
lect a home as
your fancy dic-
tates. If you are
! not requiring a
complete House of Furniture, you may
choose whatever you desire — a piano, a
sumptuous bedroorh or drawing - room
suite, etc. — in fact, anything equivalent
in value to ^250, Every woman who
takes a pride in her home should enter
for this simple competition. Besides
the first prize of a FREE £2^0 House
of Furniture, there are many other
valuable prizes. For full particulars
see '• KVERY WOMAN'S "— on sale
Monday, May 15.
EVERYWOMANS
*—* WEEKLY
The Ideal Weekly for the Thinking Woman.
live})' Monday, 2d.
giptfn £250 HOUSE OF
60*K FURNITURE FREE.
^TfoiS COUpOn entitles the holder
to Five complimentary votes towards a
FREE HOUSE* IF FURNJ 1 IRK or
Furniture to the value of ^."250) to be
selected from Messrs. DOWNINGS,
The Famous House-Furnishers, 61. 02.
40. ;o. 51 & }o, London Koad, S.l-.i.
NOTE: Only .in.' .•! these complimentary
coupons is allowed fur each < umpetitor.
For full ii.niiriil.UN of this wonderful olTor,
which includes many other valuable prize
women, see EVERY WOAI VN"S Weekly.
fiEVERYWOMAN'SWi
Lone Acre, Louden, 11'C.i.
ever— flay
FIGURE & FASHION
DRAWING
if*
OFFERS splendid possibilities to
the Artistic Woman or Girl.
You can learn at home, in your
spare time, to earn money by sketch-
ing—and to earn while learning.
CHAS. E.
DAWSON
Creator of the ' Dawson
Girl,' founder of the P.C.C.
Home Study System, can
teach you to make stylish
sketches— Fashions, Posters,
Advertisements, etc.
TWENTY YEARS'
successful teaching experi-
ence ; hundreds of ex-
amples and How-to-draw-
it diagrams in his famous
Correspondence Course
have enabled amateurs in
all parts of the Kingdom
to become prosperous pro-
fessionals — Why not
you ?
FIGURE DRAWING is ihe
basis of profitable Art Work :
The Dawson Girl on the left is
drawn in the usual Arl-School
way, that on the right the Chas.
E. Dawson way. Note the
Elegance of his unique and e*sy
system.
Draw the Dawson Girl
--Post it, with stamp for return,
lo The Practical Correspondence
College Ltd., (Picturegoer
Scholarships), 57. Berners St.,
Oxford St.. W.I, and you will
receive FREE a letter of criticism
and advice from Mr. Dawson
himself.
A few Scholarship Courses at
half-fees, reserved for ' Picture-
goer ' readers who submit the
best sketches this month.
lmmediatt Application Etemntial.
fe
r-
-T-:
.''lis Coupon and «i
IS YOUR DAUGHTER PALE ?
Dangers of Girlhood
Does your daughter inherit n delicate
organisation fioni you: Hie an:einia >i
; young ^iits may l>e inherited, or it may be
caused by bad air, unsuitable food, hast)
irregular eating, insuriicieni out-door exercise,
1 and not enough rest and sleep.
It comes on gradually, beginning with
laiigour, indisposition lo mental or bodily
xi rtion, irritability and a reeling of fatigue.
Later comes palpitation of heart, and head-
] ache. Often the patienl craves for unusual
I thm<»? to eat, such as stari h or 'balk' There
may be i"1 loss c>l ilesh. but usually ihe com-
! plexion tai>; ! on .1 greenish yellow i>allor.
There is no need t<> worry in a case of this
kind rhe ireatment is quite easy and simple.
Dr. Williams' pink pills are just the tonic to
remedy this wretched state of health. \s ihe
blood is made rich and red. ihe peculiar pallor
leaves the face, strength and activity gradually
return, and if the treatment is continued until
the last symptom disappears, the danger <>f
relapse is slight.
Therefore give your girls Dr. Williams' pink
pills to-day. < >f dealers, or direct from
address below, 3s. od. per !>ox. post free.
All yiils aud women should read the book-
let, " Nature's Warnings." A copy will b<
senl quite free if von write to Enquiry Di
\b, I '. ' ty Square London, \V. 1 .
66
THE- PI CTU RtGOE-f?
MAY 1922
YOU will, I think, agree that
this issue lives up to the
promise of its title. In making
Beauty the keynote of the May
Number, we have
Another Special endeavoured to
Number. pass the high
artistic standard
set by previous issues of the " PIC-
TUREGOER," but you must not
think that we intend to rest coatent
with this achievement. The May
" PICTUREGOER " is but the first
of a series of special numbers,
each one of which will be designed
to make movie history. The lovely
two-colour photogravure cover will
be a permanent feature from now
on, and there are other artistic
surprises in store. The June " PIC-
TUREGOER " will be a special
Summer Eashions Number ; avoid
disappointment by ordering your
copy NOW.
WHAT a blessing it is that
the 'Twelve Farnum
Fans ' haven't anything to do with
the editing of ' THE PICTURE-
GOER.' It would
One for the be a very dull
Farnum fans, paper indeed if
they were allowed
to express their jealous and selfish
views. All film fans have a right to
choose their own special favourites.
My favourites are Mary and Douglas
— you really can't give me too much
news about them." — Bessie (Hull).
THE current issue raises two
interesting problems, and I
foresee that the solving thereof
will not be accomplished until much
ink has been shed.
Beauty on The questions to
the Screen. be answered are :
Who is the screen's
most beautiful actress ? And who is
the handsomest movie male ? What
do you think ? Marion Davies,
Lillian Gish, Justine Johnstone,
Katherine MacDonald or Betty
Blythe ? Wallace Reid,. Jack Kerri-
gan, Thomas Meighan, Rudolf Valen-
tino or Joseph Schildkraut ? I
think the choice rests between the
artistes I have mentioned, but many
of you will disagree with me. Let
me have your views on the subject,
and we will crown, by popular vote,
the King and Queen of the Screen.
I HAVE received from India a
violent protest against the
statement in a recent article that
Chaplin's great popularity does not
extend to India.
A Champion " It is," says
of Chaplin. Amarendra N.
Acharji Choud-
huri, of Bhawanipore, ." an insult
to the intelligentia of India. The
fact is that the vast number of
educated Indians who are fond of
the kinema scarcely take the trouble
of writing to their favourites. They
not only appreciate Charlie's humor-
ous feats, but adore him as the
greatest comedian the world has
ever seen, some people calling him
the Dickens of Filmland." As
Chaplin has no warmer admirer
than myself, I quote the above with
the greatest of pleasure.
" T CONSIDER the choice of the
-*■ ' Nine Mixites ' a very poor
one," writes REGULAR PlOTUREGOER.
" I have seen a few of Henry
Ainley's films, and
Exit Ainley — his acting strikes
Enter Newall. me as being forced
and unnatural.
He always gives me the impression
that he is posing for some unseen
artist. I wonder if the ' Nine
Mixites ' have seen The Garden of
Resurrection. Duke's San. and The
Bigamist, featuring that splendid
emotional actor, Guy Newall ? Here
is an actor who lives the life of the
character he portrays as though it
were his own."
TO my mind, Ivor Novello is
one of the best actors on
the British screen," writes C. 0.
(Barnes). " He is the very embodi-
ment of youth
Exit Guy — and boyish en-
Enter Ivor. thusiasm, and I
will even go so
far as to say that there is no actor,
either British or American, possess-
ing the same boyish appeal. More-
over, he is a delightful lover. He
does not act — he is free from all the
' stagy ' mannerisms of most artistes,
and whatever he has to do is done
perfectly naturally. I, for one, feel
very proud that he is a British star."
"X \ J WO is the greatest emotional
» » actor of the screen ? "
writes G. W. S. (Redhill). " I give
my vote to Henry Edwards, who is
unbeatable. I go
Exit Ivor — to the pictures
Enter Henry, three times a week,
and I know of no
actor, British or American, who
can approach Henry Edwards. In
pathetic scenes he is without a
rival in the screen world, and he is
a master of comedy as well."
O J. C. (London, S.WT.), I yield
the last word in this illuminat-
T
ing discussion :
worship Wally
Exit Every-
body— Enter
Wally.
If silly flappers
Reid, what of it ?
Hero worship is
natural. Nature
made his pretty
face, and made it
well, too, so I fail
to see why Wally should be blamed
for it. We can't expect him to
flatten it under a tramcar to please
the ' Twelve Farnum Fans,' much
as they may desire it. (Please pub-
lish this part.) I fancy that Wally
owes his popularity to his vivacious
personality, boyish humour, and
finished acting, rather than to his
looks. Even to flappers, good looks,
like cream buns,
are apt to pall
after a time. I
very much fear
that the ' Far-
num Fans ' are
annoyed be-
cause Wallace
Reid is far more
popular than
their own idol."
Now the n,
' Twelve Farnum
Fans.' what do
you think ? — The
Thinker.
'JNE 1922
THE- PICTUR&GOE-R
NO.
Of a New Magazine
Something S&igger !
Something fBetter I
Something ^Different I
IF you like good fiction
in heaping measure,
here is a new experi-
ence for you —The ' 20
STORY " Magazine-a big
budget of fiction containing
TWENTY long stories-
something to read for hours
and hours — food for the
mind rather than thirty
minutes or so of eye enter-
tainment.
BIG — yes— but the "20
STORY " is also very jealous
of the quality of its stories.
TWENTY long, splendid stories
for a shilling — the finest fiction
value in the world.
<y
U
v
*J
:^-'
*
A
Dont
miss
THE.
STORY
MAGAZINE
One Shilling Monthly.
THE- PICTUR&GOE-R
JUNE 1922
PICTURE POSTCARDS
OF KINEMA STARS.
seJectecT narrTes from our enormous stock (complete list sent
free on receipt of a postcard) : —
mes, Theda Bara, Bessie Barriscale, Enid Bennett, Billy Burke, Harry
Mrs. Vernon Castle, Charlie Chaplin, George Cheeseboro, Ethel Clayton,
ose, Lew Cody, Fay Compton, Marion Davies, Bebe Daniels, Douglas
" s, Dustin Farnum, William Farnurn, Pauline Frederick, Dorothy Gish,
ish, Juanita Hansen, W. S. Hart, Sessue Hayakawa, Carol Holloway, Violet
Hopson, Harry Houdini, Alice Joyce, Doris Keane, Elmo Lincoln, Bert Lytell, Mae Marsh,
Mary Miles Minter, Tom Mix, Mae Murray, Baby Osborne, Mary Pickford, Eddie Polo.
Wallace Rcid, Ruth Roland, Constance and Norma Talmadge, George Walsh, Pearl White
eauti fully Printed in Brown Photogravure. Price Id. each, postage extra, or I '- a doz. Post free.
SPECIAL POSTCARD ALBUMS, size 11} ins. by 9 ins., beautifully bound in stiff covers, assorted
colours, lettered in gold on front "MY FILM FAVOURITES."
To hold 150 cards, 1/6. To hold 200 cards, a/-. To hold 300 cards, 3/-. All post free.
PICTURES LTD., 88, LONG ACRE, LONDON, W.C.2
"Good Things for Children."
Denn tV Son have been very busy preparing a wonderful
catalogue under the above heading. In it has been col-
lected books which will be a great delight to all the
little boys and girls who will want to be amused in the
nursery or when away at the seaside or country this
summei .
DEAN'S
Children's Story
Books.
We wish we could show you here all the lovely covers
of these books, so typical ot the House of I >ean quality.
There are hundred- of youngsters who would start very
blithely on their holidays with one of the following books
tucked under their arms : " A RAILWAY BOOK FOR
GIRLS AND BOYS/' "OUR HOLIDAY AT
THE FARM." "TUBBIE AND TODD1E IN
THE COUNTRY." Rut the best way to see the
whole new scries is to visit your bookseller. Never
have the children iieen so pampered and petted in the
way oi books before.
Have you seen
"WONDERLAND"
By Daphne Allen
?
IT ERE is one of
the most popular
pictures of recent years.
A large edition has
already been sold
out. Reprint in
beautiful colours now
offered for
"C/im picture and
many others now
on view at Odhams
Fine Art Dept.
Inspection invited.
6/-
Post
Free.
ODHAMS PRESS III'..
Fine Art Dipt.,
qi, Loop Arro, London. W.C. 2
Ij'JNE 1922
THE- PICTUR&GO&R
What Happened
at
Tattenham
Corner?
What fell influence wrecked the
chances of the favourite horses, and
gave all honours in the classic race
to unfancied outsiders ? " PEP FT. 4
PINK-TOES," by G. APPLEBY-
TERR ILL in the June " PAN " tells
of the most amazing Derby on record.
It is far and away the most original
Derby story that has ever appeared
in a magazine. We received it after
press-day and stopped the printing
machines in order to include it in
the June issue. Why ? Because
"PAN" advertises the 15 Best
Stories of the Month, and assuredly
this is one of them.
This story alone is
worth the shilling
, h a r g e d for
/' I X ," and there
tin- 14 others of
equal excellen
Reading
Stories Backwards
PAN " does not begin to read the end of a
manuscript first — the place where the
author puts his name. " PAN " reads the story
first and will not be influenced by big names,
unless associated with really worth-while stories.
You may not recognise-, the names of some of the
authors in " PAN," but you will instantly recognise
the sterling worth of every story. " PAN " is
very jealous of its reputation to give the public
the best 15 stories of the month.
The June "PAN" is on sale May 27th.
Make sure of your copy bv ordering to-dav.
Rqrs
The Fiction Magazine
15 Stories for l/-
ZanotynMoul
The Witty Weekly.
THE cleverest thing in
black and white, both
in point of illustrations
and " snappy " stories.
To say nothing of page
after page of rollicking
hilarity.
On Sale every Saturday,
but a splendid tonic for
that " Monday Morning "
feeling.
EVERY SATURDAY 2d.
The London male knows
a good thing when he
sees it I
^SKS^
TWE- PICTUR&GOE-R
JUNE 1922
"Little Lord Fauntleroy."
Read the long, complete film
story in June "PICTURES."
CAN you picture Mary Pickford in this, one of
her greatest triumphs, as a handsome blue-eyed
boy with golden curls, whose happy laughter
brought a ray of sunshine into the drabness of so many
lives ? Or, again, in her dual and wonderfully acted role
of Dearest, Little Lord Fauntleroy s mother ? Thousands
have been flocking to see this great film, and now you
have the opportunity to read the story of the Allied
Artists' film based on the famous novel.
You will like June " PICTURES "—especially the
fine Double- Page Art Plate of Gloria Swanson, to say
nothing of 5 other long complete film stories and 10
special features.
Get this wonderful number TO -DA Y.
PICTURES
THE SCPEEN MAGAZINE
64 PAGES, 4 COLOURS, ALL PHOTOGRAVURE.
Monthly— One Shilling.
"PICTURES" is a sister publication to the"PlCTUREGOER."
'UK 1922
THE- PICTUREGOtf?
fYHF. first prize of £250
entitles you to an entire
house of furniture of your own
choice, or you may choose
whatever special pieces you
may be needing. We show
here some taken at random
from Messrs. Downings huge
stock. Write for their big
catalogue.
OCA HOUSE OF
o&^oU FURNITURE
FREE !
JUST imagine you had £250 in your pocket to spend on furniture.
Think of being able to furnish that spare room at last, buy those
easy chairs, or even procure the much-coveted piano, or, if about
to be married, how delightful to feather the nest throughout. You
can make your dreams come true by entering to-day for " EVERY-
WOMAN'S " Competition : First Prize, £250 worth of furniture
to be supplied by Messrs. Downings, 61, London Road, S.E.I,
whose name is a guarantee for highest quality. There are also 100
consolation prizes — Jumpers, Blouses, Silk Stockings, etc. The
coupon below starts you off with five votes. See " EVERY-
WOMAN'S, now or sale, which contains another coupon, and
go in and win.
Don't forget the three free pattern* inside " EVERYWOMAN'S " :
FROCK, inside issue out May 29 ; CAMI - KNICKERS, inside
issue out June 5 ; PETTICOAT, inside issue out June 12.
EVEIOTOMANS
*—* WEEKLY
THE IDEA], WEEKLY FOR THE THINKING WOMAN. EVERY MONDAY 2d.
# £250 House of Furniture FREE!
OkV THIS COUPON entitles the person whose name is hereunder to FIVE
c£v^ COMPLIMENTARY VOTES . towards a FREE HOUSE OP FUR.
-v^1 NITURE (or furniture to the value of ^250) to be selected from Messrs Down-
^ inj4>, the famous house-furnishers. Please till in your own name and address or that
of a friend for whom you wish to vote. Only one complimentary vote for each
competitor.
Name :
Address
For full particulars see this week's " EVERYWOMAN'S."
OUR SPECIAL JUNE OFFER A SAVING OF 50 , direct rrom
Mfg. to yon. French Blouses, Jumpers & Silk Stockings.
1 CrepG-de-Chiue Mouse, low nock, short sleeves hand-worked design | A ft
on from, in an> colour, for 10/6 ; value 16/11. Tost 6d. v 1 1V11
2, ( ri^.e-de-Chine Jumpers, beautiful hand-embroidery around neck Vo ij
and sleeves, and !arge design around bottom, any colour, for 13/6 i 1 s# ©
value 22/11 Host6d. Value 22/11
French Silk Stockings 3/11 pair, wdue 10/6 ; 6 pair* 21/-, post free 3/11
// not satisfied moneu refunded. Value 10/6
MEDBYC0S CO., 1. Wellington Street. STRAND, W.C.2.
I
THE- PICTUREGOE-R JUNE 1922
i^>-i u^ \-^r>-4 i-g>-i ^s-i i-^ \^c>4 ^vi i-<r>-i i^o-i h<>tt^h:
I
/J»K^
^
..,..*
■_
i_<r>-4 ^^-4 l^e>-i k!>-i i^m Hg>H h^-i ^^<5^^ k=m '^>-i i-<^ gg
Genuine Crystal
Cut Glassware
Flower
Vase
perpair
PS^vY""'-"'"'^
Cream. & Sugar Set
!2'6
K-'-jin —
- J' - In
Biscuit
Barrel
22' J
if™!
I'
GOOD glass possesses many advantages over the
ordinary plated ware. NO CORROSION OR
TARNISH is possible. It lends beauty, dignity
and grace to the dining-table and home, and is growing
daily in favour with people of discriminating taste.
Our prices enable those of moderate means to put
into everyday use articles of artistic and exquisite
design hitherto confined to the few. The charm and
beauty of our wares are but faintly rendered in
these much-reduced illustrations (about i sth actual size). A
trial order will fully justify our claims. Satisfaction
guaranteed. 'Phone City 5792, or send postcard for
List of Illustrations and Prices.
■
Candlestick
30'-
Toilet Powder
Bowl 15 '■
PreserveJcW
ttfQ>
Dinner Cruet 20'-
Breakfast Cruel
9'6
P. REEVES, 12, Edmund Place, London, E.C.I
JUNE 1922
THE PICTU REGOE-R
CONTENTS:
FRONTISPIECE: Mae Busch 10
A JUNE DIARY 11
DRESS DOESN'T MATTER - 12
The Una cost of Km, ma clothes.
JOHN STORM AND GLORY
OUAYLE .... 14
Interviewed e.n their arrival in London.
SOLVING THE SERVANT
PROBLEM 16
Some famous, movie stars help.
KIPPS AND THE OTHER
PERSON 18
In other words, George K. Arthur.
DRESSING THE MOVIES - 19
The high cost of Kinema clothes.
JUNE BRIDES 23
Illustrating the month of marriages.
GET OUT OF DOORS - - 24
Marie Prevost gives some good advice.
THE FORTUNES OF NIGEL 26
The career of Nigel liarrie.
PICTUREGOER ART
GALLERY - - - 28—32
Crauford Ken'. Mae Murray, I'irginia Fox
David liullcr and Charles Chaplin.
A GIRL NAMED MARY - 33
Mary Pickford displays some fashions.
FILM STARS AT HOME 34-35
Gladys Walton.
MOVIES IN THE MAKING 36
The Dresser.
HONEST HUTCH 37
The story of the GoldwyH film.
PICTUREGOER PARODIES - 41
Pearl White.
CROOKS, COMEDIES AND
CHOPIN .... 42
An interview ui'.h Walter Forde.
THE MAN WHO HAS
EVERYTHING ... 43
In other words, Wallace Reid.
AN INNOCENT IN MOVIE-
LAND 48
An author visits the studio.
SHADOWLAND ... 51
Critical gossip of the monlh.
WHAT DO YOU THINK - 66
Your views and our own
7
t
*..
v
£*
Phyllis Have
m
10
THE PICTUR&GO&R
JUNE 1922
.
MAR BUSCH
.4 reformed movie vampire, who has just arrived in
London to play " (ilory Quayle " in Maurice Tourneur' s
tnzlo - American film version of " The Christian."
JUNE 1922
THE- PICTUR'&GO&R
ME DIARY
Editorial Office.
'?), Long .Icrr. London,
Regislercd for I ransmisilon
by Canadian Magazine post.
0
N Saturday, June I. 1906, an Indian whose
primitive war-paint concealed the fascina-
ting features of Lew Cody 'he was playing
Swiftwing in "The Goldfields of
Nevada '), remarked to a fellow - sufferer
that there positively was not a warmer
place on earth than New York in the summer.
Some few Junes later. Lew Cody, the ace of film
heart-smashers, grilling all the summer in a film
studio in Los, avowed if he ever had a company
of his own he d make snow-stuff. He has
kept his vow.
IKE the boy in the old nursery rhyme, Franklyn
*■— ' Farnum " sang for his supper (and the
rest of hie meals) on Tuesday, June 9, 1914.
That night he sang the title-role in '"The Prince
of Pilsen. Other nights, other parts ; for Frank-
lyn was principal tenor of the Stock Opera
Company out at Rosick s Glen Theatre, Elmira,
N.Y. Nowadays Franklyn leaves singing to
those who like it, and is content to be a hero
of the silent screen.
T^NOWING well that June is the wedding month, the
■*■ *■ two most popular screen stars in America decided
to make it theirs — and did so. After which, on Sunday,
June 12, 1920, Mary Pickford and Douglas Fairbanks
sailed away from their friends over there, and spent their
honeymoon, being nearly mobbed to death, in London,
England. Between times they edited " Pictures for the
first time, thus acquiring two grey hairs apiece.
Inspired by Mary and Doug s example, two young people
working for D. W. Griffith in " Way Down East felt that
there was no time like the present, and were quietly married on
Saturday, June 18, 1920. The names signed in the register
were Richard Semla Barthelmess and Mary Hay, and when
the newspapers told the world about it, nine hundred
and twenty Dick Barthelmess fans thought their joy
in life was ended. The rest of the legions bore up
bravely, and their example revived the others.
/^\N Friday, June 19, 1908, a tiny dancer in " The Ziegfeld
^-^ Follies of 1908 " found herself the reigning boast of
Broadway. It was only five days since she d made her first
hit as "The Nell Brinkley Girl, and there wasn t a happier
girl on Broadway than Mae Murray when she was told she
was the hit of the show.
\,TACK SENNETT. playing the infinitesimal role of "A
*■**■ Servant in " The Boys of Company B. at the Lyceum.
New York, was discovered muttering to himself one night on
the stage after the curtain had fallen. This happened on
Monday, June 24, 1907. When the Boys interrogated
him about it, he said he was sick of service, but as there
were no Out-of-Work Doles in 1907. Mack had to stick
t. to it till the end of the lengthy run.
12
THE- PIC TU &. E- G O E- R
JUNE 1922
[)/vff(£)oefht
after
The Sennelt gir>
dresses are more
expensive than
they look.
We hear so much about the
high cost of dressing the movies
that it is a relief to turn to
some players who can testify to
the " low cost of production."
The very significance of the title of this article indicates that it
mostly concerns men and not the eternal feminine. For although
there are occasions when the question of ornate costumes do
not exercise the minds of the fair sex on the screen, it is mostly
the artistes of the male persuasion that delight the bespectacled
accountants in the studio exchequer by " starring " in garments
of no financial account.
Although their value from the point of view of the screen
literally runs into millions, Charlie Chaplin's grotesque boots that originally
cost twelve shillings, his ninepenny cane, and his dilapidated clothes and
battered bowler hat that in all possibility would offend the susceptibilities
of a sensitive scarecrow, represent an insignificant drop in the golden
ocean that Mows from the famous comedian's films.
Charlie is in the unique position that the more shabby his attire
becomes the better it tones into his screen presentations. He has
none of the sartorial worries of the immaculate Lew Codv or
Wally Keid, who are continually seeking the embellishing aid
of valets and trouser presses.
Chaplin's full wardrobe only contains nineteen hats, seven
pairs of boots, four canes, and five suits of clothes, the combined
cost of«which does not represent the price of a feminine star's weekly
bill for silk stockings.
William Farnum, whose physical proportions are of the type that
make the average tailor reflectively rub his chin when he is estimating
the increased amount of cloth demanded by Big Bill's herculean frame,
is an inexpensive asset to a picture where clothes are involved.
His favourite garb consists of breeches and a flannel shirt, for his screen
presentations are invariably of the type that reflect the
outdoor life of a rover. Bill wears those actual modest
garments down on his farm at Sag Harbour when he is
away from the studios.
" It gets them seasoned," he explains with the typical
Farnum smile that radiates good humour from a score
of delicate lines around his reflective eyes.
Twice only has William Farnum cost the wardrobe
exchequer real money, and that was when he played in
the costume films, // / were King and The Adventurer.
In the former screen play he had to wear a suit of armour
for over eight hours, and by the end of the day Farnum
was in a state of collapse. His allegiance to his old flannel
shirt and weather-worn breeches increased a hundredfold
as a result.
Will Rogers is
perhaps
the " worst-
dressed "
movie star.
Simple dresses suit Alma Taylor best.
IJUNE 1922
THE- PICTUREGOE-R
13
Jackie Coogan has taken a hint from Charlie
in the matter of dress economy.
Will Rogers's screen studies of
rugged simplicity necessitate no sar-
torial glory. His gawkish, lovable
awkwardness only requires the humble
embellishment of clothes as shabby
as any Hobo.
In his human characterisations in
Jubilo, Hater, Water Everywhere, and
Jes Call Me Jim, his wardrobe cost
but a few pounds, although the
success of these pictures involved
profits of many thousands.
Clothes of an extravagant order
would ruin Will Rogers's natural sim-
plicity before the cameras. The result
would be as grotesque as gilding a
mouse-trap. The ex-cowboy has the
rugged face that blends with crude,
shabby attire. His big forceb ' hands
seem to exude naturally fr< m the
sleeves of a. flannel shirt — and the
studio exchequer benefits accordingly.
It was Charlie Chaplin who first put
Jackie Coogan on the right road to
making ten thousand a year with the
aid of a shabby cap, a derelict shirt,
and trousers and boots " more holy
than righteous," combined, of course,
with a. remarkable gift of natural
talent for screen acting.
Coogan's costume, although in actual
value worth only a matter of shillings,
has become the hall-mark of his
screen portrayals, and it will be a
daring producer who endeavours to
substitute it with costlier garments.
Like most big men on the screen,
Elmo Lincoln, the Tar/an of the '
silver sheet, favours the costumes that
savour of little of the sartorial in-
fluence of civilisation. In his Tarzan
picture he even outrivalled bathing
beauties in the scantiness of his attire.
William Farnum
is more effective in
Western rig than
when " tailored up."
The cost of his diminutive
skin covering was less than
the outlay on lotions for the
cuts and bruises that he sustained in
his strenuous jungle life before the
cameras. But Elmo's hurricane screen
presentations never require the aid
of well-creased broadcloth, or the
embellishment of silken hose or patent
leather. He is a Samson in his taste
in c lot lies as well as in appearance.
There are times when the 'huge
expense of dressing feminine film
stars has a temporary lull. Betty
Balfour of late has not added many
noughts to the figures in the account
books of the studio exchequer.
In Squibs she wore the modest
clothes of a flower girl with such
realism that she actually sold
flowers in Piccadilly at the foot
of the fountain. A cheap straw
hat perched on her fair curls, a
rough shawl around her slender shoul-
ders, and a skirt of cotton comprised
her humble attire.
As a waitress in a low-class eating-
house, Betty Balfour displays no fine
feathers in Mord Emily, the screen
story of Pett Ridge's human study of
London life. She is pretty and clever
enough to win the hearts of her
audience without the assistance of
sartorial splendour.
Alma Taylor as a simple country
girl, a role that she favours on the
screen, creates the appealing character
of the typical lovable Englishwoman.
In The Narrow Valley, Alf's Button
and Tansy, she owed little to dress
effects. But her charm was there1,
and a naturalness that was as un-
affected as her simple attire.
From a purely materialistic point
of view, most people will, of course,
imagine that the cheapest members
of the fair sex to clothe on the screen
are the bathing belles. But these
shimmering shoulder straps, silken
hose and alluring frills and furbelows
involve an expenditure somewhat out
of proportion to the amount of
material involved.
Comparatively speaking, the frill-
framed charms of the fair denizens of
California's beaches are not expensive
effects to reflect on the screen;
Elmo Lincoln does not
need sartorial
adornment.
%mw&
In other words, Richard Dix and Mae
Busch, stars of "The Christian," who
are now in England making exterior
scenes for Maurice Tourneur's film version
of the famous novel.
f\ ad is the writer's lot who, clay
I by day, sees one by one his
^l phrases disappear. I've just
^^ lost an old and valued friend,
■ a regular hardy perennial of a
phrase that has stood me in
I good stead these many months.
_ y But yesterday Mae Busch
was one of those easy-to-caption
movie stars dear to the journalistic
heart. Given her picture, you seized
a pen and wrote beneath it : " Mae
Busch, the Movie Vampire-de-Luxe,
who is seen this week in So-and-So,
or who was seen last week in So-
and-So, or who will be seen next week
in So-and-So." It was ridiculously
easy, like taking money from book-
makers ; but, like all the pleasant
things of life, it seemed too good to
last. It hasn't lasted.
Mae Busch broke the painful news
to me over a cup of tea at the
Goldwyn offices the day after her
arrival in London-. " Please tell your
readers," said she, " that I have
graduated from vampire roles."
" What a pity!" I said, sadly,
voicing the thought-that-should-not-
have-been-expressed, and everybody
present cast a " Who let that fellow
in here ? " glance in my direction.
" Why is it a pity ? " .Mae Busch
wanted to know, and with tears
in my voice I presented the sad
case of the caption - writer. But
Mae was adamant. " My vamping
days are over," said she. " Aren't
they, Rich ? "
" Hum-ha," said Richard Dix on
my right, beaming through his horn-
rimmed spei tai Irs. A pleasant young
fellow this Richard Dix, the shyest,
most unassuming screen star it has
ever been m\ good fortune to meet.
You've said it, Mae."
So, pausing for one brief moment
to write this touching epitaph :
In Mournful Memory
OF
MAE BUSCH
'"I'm: Movie Vampire-de-Luxe"
Who Saw mi-: Error or Her Film
Ways and Bf.cami Respe< table
On Monday, May 15, 1022.
"Another B\d Girl Com-: Right."
we will pass on to the serious side
of my interview with John Storm
and Glory Quayle.
The Christian will be a Goldwyn
production, directed by Maurice
Tourneur, and filmed in England
and America. The interior scenes
will be shot at the Goldwyn studios ;
but all exteriors will be filmed in
this country on the actual locations
indicated in the novel. Charles Van
Enger, artist of the camera, who
has filmed so many of Nazimova's
screen successes, will be responsible
for the photography, so look out
for something wonderful.
Maurice Tourneur, that wizard of
the megaphone, had greatly im-
pressed both Mae Busch and Richard
Dix.
I had a camera test this morn-
ing in a ' kid ' make-up," Mae
Busch told me ; " and when I came
into the studio in my kid clothes,
Mr. Tourneur waltzed up, tapped
me on the shoulder, and shouted :
Tag ! You're it ! ' Before I knew
anything, I was chasing Mr. Tourneur
round the studio like a regular kid.
and I got so wound up for the part
that by the time the camera started
turning I was just right for the
role. That's one way Mr. Tourneur
gets results. I tell you, he's a
great man."
Richard Dix, already an English
enthusiast, discoursed on the beau-
ties of our countryside and the
frightfulness of our cigarettes I
think he must have been bitten by
a packet of straw-covered Brazils
or something, because he thorough!)
enjoyed my Virginians.
Richard," Mae Busch informed
me, " was one of the most popular
" To cross or not to
cross — that is the
question." Mae and
Richard watching the
traffic in Trafalgar
Square.
actors in stock at Los Angeles for
many years. Everybody knows
him, and everybody likes him.
Since he's been in the movies, his
popularity has extended all over
America."
Then Richard told a story about
Charlie Chaplin that proved that
great people can make mistakes
" When I was in stock," said he,
" Chaplin often came to see me,
and once when I talked about going
into the movies, he warned me oft
' You're a good actor, Dix, because
you always think about your roles,
but you will never make a photo-
graphic subject -never !
This was a good story, but Mae
Busch soon capped it with a better
"It has just occurred to me," she
remarked, " that 1 have nevr been
kissed in a movie play. Somehow
or other, I've always managed to
avoid kissing."
There's a vampire - de - luxe lor
you !
" Never been kissed in a movie
plav," continued Mae Busch. with a
far-away look in her eyes. Richard
will receive my first screen kiss in
The Christian."
There is personality behind Kichard
Dix's smile. But, come to think
of it, he had something to smile-
about.
" Apropos of kissing," remarked
Mae Busch, " the Philadelphia
censors will not allow am screen
kiss to exceed seven feet in length
That's not much, you know."
"It is not," said Richard Dix
" We shall require at least i«
hundred and forty feet for
ki^s
(If I could live my life again I
JUNE 1922
THE- PICTUf?tGOE-f3
15
should not be penning these lines
Emphatically, no. Someone else
would be writing of Me : " He
estimates that he will require
three hundred and seventy-five
feet for his kiss."
" Did you have a pleasant
voyage ? " I enquired, to change
the tantalising subject.
Delightful ! " replied Mae.
Kather a funny thing hap-
pened on board. There was a
charity auction, and the bidding
for some article had reached
h\( pounds, when I cajoled the
auctioneer to state that if some-
one would raise the bidding to
twenty, I would dance for the as-
sembled company. Unfortunately,
I can't dance. Still more for-
tunately, the bidding reached twenty
pounds. They led me into the
centre of the saloon and bade me
dance."
" Did you dance ? "
" No. I got out of it," said
Mae. Then she told me how. I
shan't tell you.
" Mr. Tourneur tells me that I am
the living embodiment of Glory
Quayle," observed Mae Busch. "I
don't know whether to take it as a
compliment or not. What do you
think ? " ] hedged. " Have you
read The Christian ? " I inquired.'
" It's not in my contract to do so,"
replied Mae Busch, brightly.
I breathed a sigh of relief. " Neither
have I."
Anyway," said Mae Busch, de-
fiantly, " I've graduated from vam-
pire roles. You published an article in
Pictures ' some time ago in which
you said that you hoped to see me
graduate from vampire roles. Now
don't forget to tell your readers that
I have graduated."
Two photos of
Mac Bust h I shnu -
ingthe naughty little
twinkle in her eye
iha! will be lost to the
screen) and Richard
Dix before and ajter
sharing.
" I won't forget, but 1 assure
you that I never made the sug-
gestion. I didn't want you to
reform."
" We believe that Mae Busch
is capable of a supreme moment
of emotion. We believe that she
will rise to the greatest emotional
heights under Maurice Tourneur's
^ direction in The Chi • stum." It was
a. Goldwyn official who spoke.
" Kissing ! " said Richard Dix,
suddenly, in the voice of a man
awakening from a pleasant trance.
" Never been kissed on the screen."
" Never! " again vowed Mae Busch
solemnly.
I had a sudden inspiration. " And off
the screen ? " I asked, indiscreetly.
" Does that matter ? " Mae Busch
wanted to know, and a thundering
chorus from all the assembled com-
pany replied : " It does."
Mae Busch blushed.
" Let me see," said she, ticking ofl
the reckoning on her dainty fingers.
hue and five's ten. and five's fifteen,
and fives twenty, and five's
I left her counting. No official
figures have been received up to the
time of going to press.
TME- PICTU REGOE-R
JUNE 1922
„ Me O"oi v Uu iL ^
1 WJoWOl i \.
^ Alec
*/ I'rancis,
lui let or
fool man.
Alma Taylor
(lejl) might be
.your general ,
and Gladys
Walton (right)
or Enid lien-
nett (below)
your parlour-
maid.
If the shadow forms of the films
could step from their screen
domain and materialise into
the polished butlers, the good-
natured cooks, the attractive
and industrious housemaids,
the handsome chauffeurs and
similar domestic treasures that
they represent in the movies, what an
Elysium would be created for the
householder !
What an asset to a household Alec
Francis, the obsequious and well-
trained butler, would prove ! His
screen portrayals of this type of
servant are famous on the films. To
see this polished actor bring a letter
into a room on a tray is a simple
action that the art of Francis is able
to engender with distinction.
Handsome Thomas Meighan, with
his athletic frame, on which the livery
of a butler sets with such attractive-
ness, was an ideal manservant in I In
Admirable Crichton. He handed round
the port with the air of a veteran
who had in his veins generations
of ancestors who had devoted
their lives to " buttling." He
would send up the tone of any
family who captured him for
their dining-room.
Although her good looks might
cause havoc amongst the sus-
ceptible hearts of the sons of the
house, Gladys Walton would
make a demure little parlour-
maid, and Enid Bennett knows
how to wear the hilled cap and
apron of the domestic with be-
coming charm, although, per-
haps, she is more ornamental
than useful when it comes down
to dustpans and brooms.
In The Xarroiv .Valley and
Alf's Hut/on, Alma Taylor un-
doubtedly made many harassed
housewives break the Tenth
Commandment when they saw
her on the screen as the model
general servant. As " Liz," in
Alf's Button, she gave a very
human and true-to-life presentation
of the awkward and uncouth domestic.
Hut she worked with a smile on her
quaintly besmeared face, and that-
alone made her an enviable asset to
a household in these days of discon-
tented domestics.
It is difficult to imagine the yilded
splendour of Gloria Swanson figuring
in so lowly a sphere .is house-
work. Hut in Something to
Thivk About, when Gloria cast
aside her fine feathers and wore
the simple print gown ot a
blacksmith's daughter, she dis-
played a knowledge of the
domestic arts that indicated
that she is not entirely orna-
mental.
With her slim lingers stripped
of their glittering rings, she per-
formed at the wash-tub and
presented an attractive picture
of beaut) and soapsuds.
Perhaps the average housewife
would require a few improve-
ments to her costume before
she engaged l.ila Lee as a servant.
For, as the chubby, dimpled
little domestic in Tin Admirable
( richton, her costume was always
awry and impossibly dilapidated.
But her appealing dark eyes
and attractive smile would brin«
charm to any kitchen.
JUNE 1922
TM& PICTU REGOE-13
17
Monday's wash
would have
terrors for
Gloria Swanson
Julia Faye would make the ideal
ady's maid ; in freckled Wes Barry,
with his impudent smile, the proper in-
gredients for the true-to-type page-boy
would be found ; and Gwynne Herbert
could supply the motherly housekeeper
It is (;. K. Arthur who tells the
amusing story of a film actor who
was coached for a domestic part in
a film by a butler specially lent from
an old family mansion.
The actor was so intrigued by the
part that he determined to take up
" buttling " for a living, and he actually
secured such a position on the strength
of his training in the film studio.
One of the most true-to-life domestics
on the screen is Betty Balfour. And
because she is so like the real article,
she wotdcl hardly be welcomed by
any housewife. The consistency with
which she reduces china to a heap of
debris, and produces equally expensive
catastrophes in the household, is a
true reflection of the servant as many
distracted mistresses know her. But
her contribution to the servant problem
is essentially one that remains under
the heading of screen entertainment.
The question of " followers " enters
in the servant problem in these days of
domestics who need to be humoured.
If a fortunate housewife could persuade
Tom Moore to grace the kitchen as the
cook's policeman, there would as-
suredly be peace in the household.
For Tom makes an attractive, good-
natured " Robert " on the screen, and
he woidd be capable of vibrating the
impressionable hearts of the cooks of
suburbia.
Constance Talmadge, when she places
a lace cap on her rebellious curls and
ties a dainty apron around her slim
waist, makes a parlour-maid dainty
enough to set before a king. But, then,
like all these delightful people who
flicker through the drawing-rooms of
filmland, she is of the stuff that dreams
are made of where the covetous house-
wife is concerned. p. r. m.
Lady's maid : Julia I- aye. of course.
Wally Reid would make a splendid chauffeur
18
The- pictur&goe-r
JUNE 1922
KIPPS -W
Ike Other lersoix
Being something about a new enter-
prise, and an old friend.
dvery little way behind me I had left the dust and
the mess, the medley and the noise of dear old
London. But in the Enchanted Garden I may have
easily deluded myself that the Metropolis, like the
Sphinx, was " far, far away."
And in the Enchanted Garden I found The
Other Person. I had come to find The Other Person,
but in less than five minutes I was saying " Yes,
Kipps " and " No, Kipps," and — well, 1 can't help thinking
that, when some reminiscent grandpa, in the years that are
to be, compiles a Book of Film Memories, one George K.
Arthur will be written down as " Kipps." It was an
amazing and awe-inspiring achievement to walk from the
thorny road of Obscurity into the sunny path of Fame via
one characterisation, but George K. Arthur did it when he
interpreted II. G. Wells' " Kipps " ; and the manner in
which he did it is a no less amazing thing.
" I just wanted to be ' Kipps,' you know," he told me,
with a candour which is not the least part of his charm.
" But when I was sent to see H. G. Wells ' on appro.,' I
really hadn't the faintest hope of being successful. And
an accident moulded my fate ! When I walked into the
Great Presence, the very first thing I did was to knock over
a very beautiful and valuable vase', and my bewildered em-
barrassment and .contrite (though mute) apologies worked
the miracle ! I couldn't have said anything if the penalty
had meant my entry into the Gates of Eternity. I was
much too alarmed and frightened. But I suppose I
' looked ' all I was trying to say, and, you will remember,
' Kipps ' was stupid and awkward like that. So, in the
Great Presence, it was straightway decided that 1 should
be given the opportunity of creating the film ' Kipps.' "
Some of us weak mortals, alas ! misuse or abuse that
greatest human impetus Opportunity; but George K.
Arthur just grasped it, when it came his way, with both
hands, and as extra ammunition in the fight Ior achieve-
ment he commandeered the rest of his being, too.
No wonder he has not stopped to rest on the
laurels earned for him by " Kipps " ! /
Followed three more leading rules in
Dear Fool, The Lamp in the Desert, and
Wheels of Chance (all Stoll productions),
and then- .veil, George K. Arthur still saw
the shining light which is Opportunity t
looming over his horizon -and straight-
way commenced work on his very own
production.
Rounded Corners (that is the attrac-
tive title of his " very own " film) bids
fair to prove as successful a vehicle for
his own particular species of talent as
any lie has previously had.
I'm a really naughty boy, you
know," he informed inc. " One of the
pull-any-old body's-leg-and-get-a-bit-of-fun '
type but I reform before it's ' too late ' ! " "^
Really, if reformation should mean the decease of
that delicious twinkle in vour lefl eye, dear Kipps, do, I
beg of von, " carry on with the naughty work."
Whilst Kipps was escorting me around the Enchanted
Garden, we came upon a vision fair and sweet outlined against
a dear old-world sun-dial, and I was introduced to the clever
little lady whose mission in lite, at the moment, was the
working of the " naughty boys' " reformation. Flora Lc
Breton, the dainty, tun little film star who has, like her
Ian ous colleague, tound a swift and sure looting on the
ladder of Film Fame, said she was proud anil happy to be
helping Kipps in the first " Glorious Adventure.'' And
Kipps, modestly land characteristically) put an end to the
little lady's expressions of contentment by declaring that he
was " a lucky man to have secured Miss Le Breton's services,
for the part was simply asking to be interpreted by her ! "
If there is any other " secret " of success save hard work
and grit, I believe George K. Arthur has found it in that
inspiring and confidence-creating belief in other people's
greatness. He would pass none of them by.
Here " (presenting Mr. Edward R. Gordon) " is my
producer. He has directed numerous successful pictures — -
amongst them The Haigh Serial and Repentance ; and again,
I am a fortunate man to have captured him.''
And in the Enchanted Garden I met, too, Miss Boris
Lloyd (the charming stage actress who is now appearing in
" The Yellow Jacket " at the Kingsway Theatre), Sir
Simeon Stuart (whose name will be familiar to all picture-
goers), and Bertie Wright — all very important units
in this little army of enthusiasts who are going to help
create " George K. Arthur Film Productions."
George K. Arthur has benefited much by the sound
advice which the great
Charles Chaplin passed on
to him whilst he was on
his recent visit to our
shores.
" I was very fortu-
nate in meeting
Chaplin on several
occasions, and his
very presence in-
spired an added
i zeal and ambition
L in my breast," said
k Kipps.
But methinks
B even the great
■ Charles Chaplin
I must have realised
I that he had dis-
' covered c 1 a.y
worthy of the
moulding ! <,. m. a.
Two studies of
George K. Arthur in
" Hounded
5i» Corners."
Flora
Le
Breton
JUNE 1922
TH & PICTUREGOE-R
19
Left : Marion Davies. Above: Ethel Clayton in " The Sins of Rozanne."
To adapt an ancient philosophy, the " lilies " of the kinema
both " toil and spin," and Solomon in all his glory was
most certainly not arrayed such as these !
Beauty on the screen to-day is gilded with greater splen-
dour, and at a more prodigal cost, than has probably
ever been the case in the history of the entertainment
i world. The stage in its most extravagant phases has been
far outstripped by the kinema. Producers at the moment
are revelling in an orgy of financial lavishness. They have found
that an unsparing hand, where the costuming of a film is concerned,
has a large bearing on the success of a picture and the popularisation
of a " star."
Also the camera demands realism in screen raiment. The relentless
eye of the lens cannot be deceived. It cruelly reflects the shoddy and
imitation in dress. But it will bring out the attractiveness of luxurious
furs and the allurements of expensive silks and satins.
It is casting no aspersions on the talent of Mae Murray to suggest
that her success as the butterfly of the screen is to a large extent due
to her gorgeous clothes. This f air-In ired star's dazzling succession
of silks and laces in which she flickers across the screen cost in the
vicinity of ten thousand a year. Mae Murray is one of the greatest
screen spendthrifts. Through her extravagant costumes, she seeks
to express her persenality as a luxurious woman of the world. In
collaboration with Bob Leonard, her husband producer, she designs
most of her screen costumes, although many of her dresses of delicate,
sensuous impressionism that she wore in Peacock Alley and Fascination
were procured from Paris. In The Gilded Lily, Mae Murray spent
hours working out the design of her costume in the famous bubble
dance, when she emerges from a nine-foot basket of gilded wood sur-
rounded bv balloons of four yards in circumference.
20
THE- PICTUR&GOE-R
JUNE 1922
Left : A corner
of the huge
wardrobe-room at
Universal City,
which can
provide costumes
of every period.
Right > Priscilla
Dean in a gown
that grandma
wore.
Above .
White, wearing
an ultra-modern
confection, offers
a sharp contrast
to Norma Tal-
madge (right) as
the centre of an
old-fashioned
bridal group.
The final dress was composed of costly silver cloth decorated
with tiny carbon lights, which beneath the studio arc lamps blazed
like great diamonds.
Mae Murray and her producer bring an unusual combination of
a woman's instinctive knowledge of how to dress and a technical
understanding of light and colour on to the costuming of their
film pictures.
Robert Leonard, before he signals for the camera-men to commence
turning, examines all his settings and his wife's costumes through
a pair of specially contrived blue spectacles. These have the effect
of reducing all colours to their correct values in black and white.
By this means the producer can concentrate the eye of the audience
on the most
important
things in a
set by in-
creasing their
colour value.
That is why,
if you watch
Mae Murray
on the screen
amidst the
most ornate
surroundings
calculated to
intrigue the
eye, your at-
tention is sel-
dom diverted
from the fas-
cinating flit-
ting figure
moving
against such
backgrounds.
Gloria Swan-
son has been
clothed by
JUNE 1922
THE PICTURE-GOER
21
^"^a*
picture is not unusual for Gloria
Swanson. And because her cos-
tumes are of such distinctiveness,
they cannot be worn in more
than one picture. They are not
wasted, however, for a clever
designing department picks them
to pieces, and later the costly
materials form the basis for other
startling
creations.
Dorothy Devote' s
wardrobe
includes hats of
every period.
From left : 1875,
1882, 1900,
1910 and IQ22.
that lover of realism, Cecil De Mille, in
gorgeous dress creations that represent
many thousands of pounds. Gloria is
often the rich and extravagant woman
on the screen. She wears a two-
thousand-pound ermine coat in one
of her latest pictures. A filmy lace
gown that added fifty pounds to the
wardrobe account was irretrievably
ruined by this luxurious star in the
wreck scene in The Admirable Crichton.
Recently she wore an eight-hundred-
guinea black-and-white cape com-
posed of African monkey fur for less
than four minutes before the cameras.
Her sartorial glories necessitate almost
daily visits to costumiers. The wear-
ing of thirty different dresses in one
JK
Nazi-
too,
Alice Terry
as
" Princess
Flavia," in
"The
Prisoner of
Zenda."
It is
mova,
who literally
can claim to
have worn a
screen cos-
t u m e in
keeping with
every one of
her ' thousand moods." She had to order
fifteen cloaks in order to secure
one garment of original and Corinne
costly design. Griffith
This was an opera cloak of designs many
black-and-silver cloth studded of her
with heavy silver camelias. The gowns.
material had to be
especially woven,
and being unable to
purchase the quan-
tity required for one
cloak, the looms in
Paris would only
consent to weave the
cloth on the under-
standing that an
order sufficient to make fifteen
cloaks was ordered.
Golden - haired, grey - eyed
Corinne Griffith designs most
of her own screen gowns. Her
dress creations have set the
vogue for many thousands of
Clara Kimball Young's wardrobe is worth a king's ransom.
22
THE- PICTU R E-GOE-R
JUNE 1922
her admirers. Yet there are few
feminine picturegoers who could
face the huge cost of these lavish
costumes. Several hundreds of
pounds were involved in the creation
of one dress alone that Corinne
Griffith wore in What's Your
Reputation Worth? It was made
almost entirely of pearls, ten
thousand of these jewels being
threaded on silk to reproduce the
necessary effect for the cameras.
Only a few years ago such ex-
pensive assets to screen produc-
tion would have been greeted
with a storm of protest of similar
nature to that levelled against
Griffith when he startled impe-
cunious film financiers by wasting
a few hundreds of feet of film in
his earliest pictures.
Clara Kimball Young re-
cently wore a ijooo chinchilla
coat in front of the cameras.
Not so very long ago, when
her salary for film acting was
five pounds a week, she wore
ball dresses made from coloured
cheese cloth at a few shillings
a yard. Nowadays the screen
spendthrift is accepted as a
natural development of the demand
for realism on the film, and to the
feminine artiste realism inevitably repre-
sents Paris creations.
Most big studios have a highly-paid
mistress of the wardrobe who caters
for the lavish demands
1 >
Alice Lake in
search of
" something to'
wear."
before a film eventually is shown to the public, screen-
dress designers are faced with the problem of anticipating
fashions. In many pictures the leading artistes wear
creations that, it is anticipated, will be the dernier cri in
months that lay ahead.
Paquin and Worth, and similar European dress kings,
may run up huge studio dress bills, but these are nothing
compared with the cost of providing raiment for period
plays.
Not an insignificant part of the two hundred thousand
pounds that represented the cost of the Queen oj
Sheba was due to the lavish dressing of this screen
spectacle. Thousands of costumes had to be created
from information laboriously gleaned from his-
torical books.
Thousands of pounds' worth of jewellery
glitters on the slim fingers and shapely arms of
film " stars " when they are acting before the
cameras ; but it is not always provided by
" Fairy Godfather " producers. Much
of the jewellery worn in the studios
represents the artiste's personal pro-
perty. If it does not, trinkets of the
artificial variety are generally
supplied by the wardrobe
mistress. For this is
one direction in
which the eye of
the camera can be
deceived. The dia-
mond of cleverly
constructed paste
glitters beneath the
arc lamps with most
of the brilliance of
the genuine stone.
And studio lighting
caresses artificial
pearls with con-
vincing light that
the oyster-produced
variety cannot im-
prove upon. Bebe
Daniels in a recent
picture wore a
superb ring- watch
Anita Stewart is an-
other star who prefers
sports clothes to the
confections she wears
on the screen.
/
The Pauline Frederick (left) would
dress as the Pauline Frederick (above)
if she had her choice.
of " stars." The Famous-T-asky
dress-designer has a seat provided
for her in the Grand Stand at Ascot,
she walks the lawns at Henley with
best-dressed women in Society. Thus
keeps in touch with the latest develop-
ments in the sartorial world.
Because films carry date, and owing
to the length of time that stars and their
dresses remain embalmed in celluloid
Elsie Ferguson, one of the screen's
best-dressed women.
made in the seventeenth century.
Despite its diminutive size, it
was embellished with fifty -six
pearls and eight diamonds.
I )ressing the movies is pro-
ducing bills that outrival the
extravagance of Ninon de Len-
clos, the fair spendthrift of his-
tory. But it is creating a new
appreciation of alluring feminine
charm, as reflected by beauti-
fully dressed women on the
screens of the world.
JUNE 1922
THE- PlCTUf39GOE-f5
23
Bebe Daniels is frankly bored
by the whole proceedings.
Above : Priscilla Dean, heroine of many movie
marriages, is always self-possessed at the altar.
Below : Agnes Ayres, who seems more nervous
about it than Priscilla.
Lila Lee doesn't
believe in marriages
except for movie
purposes.
Many people would envy Myrtle Bonillas in
the above scene, for Bill Farnum is the bride-
groom elect.
24
THE- PICTUREGOE-R
JUNE 1922
■
I
. — - -
« , - -. .
Get Out ofDoorS /
MARIE PREVOST
•hen I
made
my last
' farewell
footprint on
the golden
sands of Cali-
fornia and
exchanged my
one-piece
bathing suit
of happy
comedy memory for the drawing-room
gowns of a Society lady, there was *
one pang of memory amongst my
happiness at being selected to " star "
with the Universal. For leaving the
blue skies and the sun-tipped surf
where I had for so long been a bathing
belle was like saying good-bye to old
friends.
The heated studios with the glaring
lights away from the cooling breezes
of the beach did not appeal to me
after the delights of the open air.
For I am going to upset all tradition
and confess that almost every day
when the cameras had ceased to click
I stole off behind a rock and, divesting
myself of my frills and furbelows,
donned a less spectacular swimming
suit, and proved to a sceptical world
that a silk-clad bathing girl can really
swim.
It was the call of the open air that
was evincing itself. It has been
in my blood, probably because my
father was a well-known athlete, ever
since I could balance myself on my
feet without the aid of my nurse.
I was born in Montreal, and spent
most of my childhood ski-ing and
toboganning, wrapped up in furs and
with my snow-stung cheeks peeping
pinkly from beneath an old tam-o'-
shanter.
Those were the days, and their
memory has never left me. Since then
I have spent every minute I could
spare out of doors, and I have secured
countless new clients for good old
Doctor Fresh Air.
They laugh at me in the studios
when I rush into my dressing-room
beautifully coiffured, powdered,
scented and gowned, and a few
minutes later emerge in the workman-
like breeches, golf stockings, and soft-
brimmed hat that I favour for outdoor
sport. But I obtain converts to my
cause all the same.
I remember one film artiste, with
big, limpid eyes and a skin of alabaster
whiteness, who gave one the impression
that she was made of Dresden china.
She was always away from the studio
through " nerves " and similar ail-
ments of the hypochondriac order, and
because she looked a delicate little
thing she had a good deal of mis-
directed sympathy lavished upon her
that in reality made her worse.
I was sure that all she wanted was
more fresh air. For in her luxurious
bungalow she used to he about on
silken divans in a scented atmosphere
that one associates with a decadent
Eastern Princess rather than a healthy
Europeah.
So I hatched a little plot.
One morning, early, I rang her up.
" I'm coming round in my car to
take you out to the hills to see the new
location we're going to next week," I
told her ; and I banged on the receiver
before she could make her yawning
protests at being disturbed at so early
an hour.
She climbed into my automobile,
swathed in expensive furs, although
the sun was high in the heavens.
We drove out to the hills, and then,
as I had arranged, the chauffeur
stopped suddenly when we were five
miles from home, and, with a lugu-
brious expression, announced that we
had had a breakdown.
" Then we'll have to walk home," I
announced cheerfully.
My friend of the alabaster com-
plexion went even a shade whiter.
" I can't possibly walk all that way.
My head is aching dreadfully already."
" Fiddlesticks ! " I retorted un-
s\ mpathetically. " Come along, and
you'd better leave your furs in the
car. We've got a long way to go."
When, tired but happy, I arrived
back at the bungalow, my " nerve-"
JUNE 1922
THE- PICTUREGOE-R
25
ridden friend had a becoming pink
tinge in her cheeks and a brightness
about her eyes that I had never seen
before.
" I never thought I could do it," she
said, almost triumphantly.
Now she rides and walks with me
all over the countryside, and she has
thrown away all her headache cures
and nerve tonics.
And, what is more, she looks much
prettier on the screen now that the
open air has brought the glow of health
to her face. I discovered long ago that
fitness is a mighty important factor
where film work is concerned. Few
people can deceive the camera success-
fully, for the lens relentlessly records
a tired expression and exposes the lack
of vitality that an unnatural life
brings in its train.
Swimming has always been a favour-
ite hobby of mine, which may sound
a quaint admission from a one-time
bathing nymph. But, although the
director of sea-shore comedies bellows
through his megaphone, " Don't go
iear the water, ladies ! " most of us
■vho have flickered across the screen,
iirmed pnly with a shoulder-strap, a
lurbelow and a smile, in reality love
he water.
Swimming, I am certain, does more
jo make the figure graceful and supple
han a score of beauty parlours. And,
vhere figures are concerned, a bathing
irl has, you must admit, a certain
imount of right to air an opinion. For
'e cannot camouflage our figures with
|rell-cut gowns. A one-piece bathing-
lit is an acid test of shapeliness, and
;e have to study the question of
hysical culture very seriously to
jitain our slender appearance.
I once found
the ability to
swim, however,
of more value to
me than the culti-
vation of graceful-
ness. It was whilst we
were filming Moonlight Follies.
I was carrying out some stunts
for the camera in a swimming-
pool on the Coffin Estate,
California, when King Baggot,
the assistant director, who was
leaning over the edge directing
me, fell into the water.
The unexpectedness of his
fall resulted in his head striking
the stone bottom of the pool.
He floated to the surface
practically unconscious.
He was a big man, and it
required all my strength to hold
his head above the water and
swim with him to the side. • I
was pretty well exhausted
when the alarmed members of
the company pulled us both
out. If I had not been able to swim,
it is very possible that a tragedy
would have shadowed the taking of
Moonlight Follies.
When my mind is wearied by the
racket of the film studios, I get into
my old sports clothes and, with a gun
under my arm, go for a hunting
expedition in the woods.
I can hear the hyper-sensitive
saying —
" But how cruel to go out maiming
birds and rabbits for the sake of
amusement ! "
But it may comfort these critics to
know that I very seldom hit anything.
It is because I like the places where my
hunting takes place — in the woods and
fields where the quietude brings a new
freshness to the mind and body — that
I pose as a modern Diana.
I prefer to roam about the woods
by myself on such
expeditions. Once
I went out with a
shooting party,
and I was terrified
most of the time.
Some of the ama-
teur members of
the party flour-
ished their guns
{Continued on page 64.
'* The woman who
cannot ride is to
be pitied. The
man who said 'My
kingdom for a
horse I ' knew
something."
26
THE- PICTUI5EGO&I5
JUNE 1922
UAe FORTUHPQ
OF XlGEL Q)
Being an account of the varied career of Nigel Barrie, British by birth,
American by (movie) adoption.
kor a rule to work according to plan, it is absolutely
necessary that it should have an exception. And in
the case under review, the rule is " A rolling stone
gathers no moss : " the exception is — Nigel Barrie !
Thirty-three years ago, Nigel started rolling, and
he's been at the job ever since. In the process he
has gathered much moss, in the shape of experience,
knowledge and histrionic talents, until to-day finds
him on the topmost rung of the ladder of success : a fully-fledged
film star of world-wide fame.
It may be the fact that he started life with the heavy bias in
his favour of being a Britisher that accounts for his rapid rise to
fame and fortune. One of his proudest boasts is that he was
born under and within sight of the British flag, for the place of
his birth was India, and the house in which he first saw the light
of day was the only one- tenanted by English in the midst of the
native district, and the Union Jack fluttered proudly in the
breeze there.
That important event occurred on February 5, and on March 5
his career of rolling began. He was exactly a month old when
his family set sail for England, and who can say but what this
sudden transition did not sow the seeds of that roving nature
which developed rapidly in young Barrie ?
His parents settled in England for some years, and Nigel was
given a real English education, which was finished at Haileybury.
It was while at this college that he developed the first symptoms
of the stage fever that was ultimately to captivate his whole life.
The Turning
Point."
JUNE 1922
THE- PlCTUf?EGOE-R
27
One morning his uncle came to see
him at the college, and obtained leave
of absence for Nigel to accompany him
to the next town to see a show at the
local theatre ; the particular point of
interest to the uncle being that an old
chum who was at Haileybury with him
years before was playing the leading
part in the show. After the second act,
Nigel and his uncle went round to the
star's dressing-room for a chat, and the
rest of the play Nigel was allowed to
witness from the wings.
This insight into the life of an actor
behind the scenes infatuated Nigel, and
there and then he decided to become
an actor. And as the wish is father to
the deed with Nigel, it was not long
before he had secured a part in a
stage production.
After a period of hard training in
very minor positions, this Rolling Stone
decided that his job in life was to
tickle the visible faculty of the public,
and he accordingly turned his atten-
tion to comic opera. He will be well
remembered by the theatregoers of a
decade ago as playing important
parts with Sir F. Benson, Sir Herbert
Tree, Fred Terry, and many other big
stars.
But it must not be supposed that
our Moss-Gathering Stone had talents
that were concentrated on the one
form of art only. If that had been
so, there would have been no Nigel
Barrie of his present-day eminence,
because screencraft brings into play
every possible form of stagecraft.
There was no department of stage
work of which Nigel did not make
himself complete master. In fact, he has played
practically everything from drama to step-dancing
at the music-halls.
It was music-hall work that took him to America,
where his personality and stage style soon attracted
the Lasky people, who gave him his first film part
in the famous " Babs " series — Bab's Diary, Bab's
Burglar, etc.,- in which he played as " Carter
Brooks," opposite Marguerite Clark.
He also played opposite Jane Grey and Clara
Kimball Young.
Then came the war. And our Rolling Stone
lost no time in joining the British Army. He
chose the Royal Flying Corps, in which he became^H
a Lieutenant, and his adventures while " O.H.M.S. "
would fill a complete issue of this magazine. He
says that he never had such a hot time since he left
India !
But fortune smiles on the brave, and our Rolling Stone
returned safe and sound to his studio work when the
Armistice w-as signed.
Nigel has been one of the world's most busy
workers since the war, having played opposite Bessie
Barriscale, Margarita Fisher, Alma Rubens, Blanche Sweet,
and Pauline Frederick in a record number of big popular
pictures.
In personal appearance, Nigel is one of the most striking
men in the land of films. Tall (he registers 6 ft. I
in his socks), with dark-brown hair and brown
eyes, he is a perfect specimen of manhood.
And if you ask him the reason for his
success in films, he will laughingly reply :
Oh, it's sheer luck — the luck of
being born a Britisher " !
28
THE- PI CTU RE-GOE-R
JUNE 1922
GRAUFORD KENT
Is an Englishman whose screen spurs have been won in America.
Has supported many popular stars, including Marguerite Clark,
Alice Joyce, Carol Dempster and Justine Jonnstone.
JUNE 1922
THE- P1CTU REGO&R
29
MAE MURRAY
Danced her way to film fame after graduating from musical
comedy. " On With the Dance," " Idols of Clay," " The Right to
Love " and " Peacock Alley" have established her reputation.
30
THE- PICTUI5EGOE-R
JUNE 1922
VIRGINIA FOX
Once again Mack Sennett claims credit for the discovery of a
film beauty. Since her Sennett days, Virginia has supported
Buster Kenton in several pictures, and her popularity is increasing.
JUNE 1922
THE- PICTUREGO&I?
3!
DAVID BUTLER
A juvenile lead who is the favourite of many picturegoert.
David was born at San Francisco in 1895. He is six feet high
and has black hair and blue eyes.
32
THE P!CTU(5EGOE-f5
JUNE 1922
Pfv-.v/.v
CHARLES CHAPLIN
Now on the last lap of his long-drawn-out million dollar
contract, which will leave him free to make more pictures
like " The Kid " before many months have passed
JUNE 1922
TME- PICTURE-GOE-R
33
Above : A box jacket worn with
the velvet dress seen on the
"ght. Collar, cuffs and hat are
of white moufflon.
A blue serge frock trimmed
with loops of red, white and blue
»erge, fastened at the front with
three red buttons.
An evening gown of
white chiffon trimmed
with iridescent beads.
Come glimpses of the latest additions to Mary Pickford's wardrobe, designed
m I It j. ?"», .h, ™d'ite- Madam« J«"ne Lanvin. They include:
Mary P.ckford s Water Lily dress of silver green silk, with bands of s.lver
lace and s.lver ribbon at the waist. A heavy navy blue cheviot coat, with hat
ol navy felt. A s.mple frock of black chiffon velvet, with eyelet embroidered collar and
cuffs ol ecru batiste. A street costume of grey homespun, with hat of navy blue lacquered
straw. And a street dress in brown crepe de Chine, embroidered in red. Alas I that Mary
should have so few chances to exhibit her wonderful wardrobe on the screen.
34— JUNE 1922
TH E- P
GLADYS
WALTOII
CpE-te
JUNE 1922 35
N dainty Universal star lives in a
lightful bungalow. Her hobbies
■ boating, fishing, motoring and
ng, and she has a large and varied
ant of domestic pets. Most of her
ime is spent out - of - doors.
36
THE- PICTUR&GOtl?
JUiNE 1922
oviefm ike J Waking
SZTe O
C GERTRU-tfE-
M. ATX&N
A famous stage actress once denned
f her dresser as " the keeper of
I my wardrobe keys — and my
^S soul's secrets."
I The definition was an apt
I one, for, to her dresser, the
% A scintillating star of stage or
\ screen is " just a woman " —
with whims and foibles and other like
human and humane qualities. The
energy and faithful service of her
dresser is not the least thing in the
category of essentials to success of a
screen star. She learns to regard her
as a sort of mother-nurse-servant-and-
friend compound, without which she
would be as helpless as a fish on dry
land.
A glimpse into the secret chamber
(more prosaically called the " dressing-
room ") of a film star, and a knowledge of
the manifold duties of her dresser, can be
best pictured, perhaps, in the words' of one who can claim to be a
veteran " in film environs, for she has been serving one famous
leading lady for nearly eight years.
Because she is not a publicity agent, and for other reasons so
obvious that they need no definition, our dresser describes her mistress
as " Miss Star."
" I have been serving Miss Star for so many years, and know her
so intimately, that I would be justified in calling her my ' friend '
#*
first — and myself her ' dresser ' as an after-thought.
Except on those very rare occasions when Miss Star
sheds her screen personality and indulges in a little
harmless pleasure-hunting, I am in constant attendance
upon her. In the dressing-room, on the floor (which,
perhaps, you know, is a term used to describe anyone's
presence in the studios whilst a production is in progress),
on location, and, quite often, at her own home.
"It would be an impossible task I should set
myself if I attempted to describe in black and white
the actual duties of a dresser. They are so numerous,
and some of them so small (though important enough,
withal) that it would probably take me a whole week to
think of them all— and another week to define them.
" But, primarily, I am there by her side to help her
with her ' make-up,' to ' find ' the particular dress she
may be requiring, to j>ut her into it, and to generally
supervise details ; for details are quite the most im-
portant item of her toilette where a film actress is con-
cerned. I have to remember just how a certain bow was
tied (when she wore it for a scene the other day), what
set of collar and cuffs was used, the pieces of jewellery
she wore with the frock, the shoes and stockings, and
every other minor detail. If I did not remember all
these things (and I confess that I keep a note-book for
this purpose alone), the chances are that my mistress
would be the creator of some of those ridiculous and
utterly incongruous ' mistakes ' which the keen eyes of
picturegoers are constantly detecting in films.
" On my last visit to ' the pictures ' (I take frequent
'busmen's holidays !) I noticed that the heroine, who
was wearing white shoes and stockings
when she left a certain ' set ' (osten-
sibly to greet the hero at the hall
door) returned to that same ' set '
(with hero) in black shoes and stockings.
And 1 passed judgment on the dresser
— not the heroine. It is possible
that many days' work intervened
between the taking of the two scenes
in question, and, without the guidance
of a trustworthy ' someone,' these
errors are easily made — but not so
easily rectified.
" When our company goes away
on location, I go with it, for Miss
Star would be unhappy without me;
and the most priceless of all her
workaday possessions, her ' make-up '
box, would have to be entrusted to
strange hands !
" Consequently, I share all her
exciting and interesting (and some-
times thrilling) experiences.
' The latest incident worth record-
ing happened whilst we were
staying at a prominent hotel
in a favourite seaside
[Continued on page 64.
Bebe Daniels selects a dress.
Stars and their dressers
Top left : Ann Forrest
Centre : Wanda Hawley
JUNE 1922
THE- PICTU RE-GOE-R
37
D
1
ut them props off the
step."
"But mother
said "
" Never mind what your
mother said ! Get them
. props took off that step. It's what I
say. Who runs the 'ouse ? You listen
to your father a bit more'n you do,
and you'll not go far wrong."
The kids obeyed, and Hutchins — -
" father " Hutchins, Ort« Hutchins,
the laziest man in Willow Bend, or
in all the world for that matter —
prepared to sleep again. When sud-
denly he remembered.
" An' wot about them worms,
kids ? "
Spokesman for the kids spoke.
When we've got in the firewood
for mother "
" Mother again, eh ? My word !
You just drop that firewood .wheeze
till I tells you to start, and get
huntin' around for them worms. How
d'yer think I'm goin' to do any
fishin' without worms, eh ? It strikes
me it's a lucky thing I'm alius around
to tell you what to do, else you'd
never get nothin' done at all. My
word ! "
He slept. He slept an hour. Half
of that hour it took the kids to find
the worms down in the river bank.
The other half it took them to wake
father. But at last he was awake, and
shouting :
" Mother ! I say — mother ! "
Mrs. Hutchins, worn, weary, dis-
illusioned, came to the door wiping
her hands on the coarse apron, fresh
from the wash, but not too fresh
either. Resigned to her lot as a
4ibi\0st
Hkitc
murderer is resigned to the scaffold,
liking it not.
" Yes ? "
" What about my fishin' rod,
mother ? "
CHARACTERS:
Honest Hutch
Mrs. Hutchins
Ellen -
Tom Gunnison
Will Rogers
- Mary Alden
Priscilla Bonner
Tully Marshall
B. Munson
Nick Cogley
Tom Gunnison, Jr.
Hiram Joy -
Narrated by permission from the Golduyn film
of the same title.
Wearily she lifted it from the hook,
wearily she passed it to him.
" Well ! " he grumbled. " It'll want
baitin', won't it ? "
Wearily she took up the bait can
and baited the hook ; then once more
she passed it across to him.
" Ha ! "he said, examining the result.
Someone called from the front door,
so she turned away. It was Mrs. Joy,
wife of Hiram, Willow Bend's banker.
" Hiram asked me to call. There's
his ranch on the hill there going to
bits because there's not a man
in the town has the time to look
after it. He wondered if Ort
would care to take it on."
Hutch, listening by the window,
had no time to slip away unobserved.
The dull eye of wife Mary and the
eagle eye of Mrs. Joy were upon him.
He shuffled into the house with as
good a grace as he was capable of,
grabbing at his hat and putting on
his best pained expression.
".I heard what you said, Mrs.
Joy," he murmured. " Yes, I heard.
But, you see, this old town of Willow
Bend don't understand me proper.
They thinks I won't work. It ain't
that. It's my back. It's twenty-five
years since I fell off a scaffold, and my
back's never been the same since.
It ain't that I don't want to work,
but my back won't let me. Awful,
ain't- it ? "
Hiram thought perhaps you could
call in on your way down the street."
" Oh, yus," said Hutch. " Yus. I
can do that. I can call in. My back
don't stop me callin' in."
Mrs. Joy went, and Mary followed
Hutch to the door.
" Hutch," she said, " ain't you
goin' to take it on ? "
" It's my back " he grumbled.
" Yes, I've heard about your back,
Ort. Oh, I've heard about it. But
I've run this home of ours for fifteen
years, boy, an' I'm tired. I've washed
and washed till my fingers ain't flesh
any more ; only bone. An' I can't
keep on that very much longer. I'm
pretty near finished, Ort. An' I
think it's pretty near your turn. I
mean that — that "
38
THE PICTUREGOE-R
JUNE 1922
" 'Cessory after the fact. We'd get him I " said the
Sheriff's officer.
" Aw my ! " sighed Hutch. '
" I never seen nothin' like women.
Soon as anythin' happens there they
set to snivellin' till you can't hear
yerself speak. I dun no ! "
She lifted the coarse apron to her
eyes and wiped away a tear. Ort
shrugged his shoulders and turned
out of the yard into the tumbled
village street.
Snivellin' women ! " he growled.
" Makes yer tired ! "
The bank, and its banker, Hiram.
Joy, were Willow Bend's most
proud possessions. The bank was
all shine and glitter and cleanliness,
and Hutch felt none too appropriate
with his feet on its marble. The
interview had got to be short.
I heard what your missus said you
said, Hiram," he murmured. " Course
I haven't the health some fellers have.
It's my back. I had it put out twenty-
five year ago through fallin' off a
scaffold. It holds me back a lot. Now,
if you could put in some men to work
that ranch o' yourn and let me be
overseer— somethin' I needn't do a
lot at "
It's a one-man job or not at all,"
said Hiram Joy. " The place has been
left so long alone that it wouldn't pay
a staff. But one man with his coat
off — at first — could knock a tidy little
balance in this bank here out of that
ranch if he went in meaning it, Ort."
" Ah 1 " said Hutch. " You see,
Hiram, it's my back. It don't give a
feller a fair chance."
When he was gone, Hiram Joy
turned to his chief cashier.
" Scaffold fiddlesticks ! " he snprted.
" He never got up enough
energy to climb a scaffold.
How could he fall off what he's
never been on ? "
Down the little rambling street
went Hutch, and through the willow
bushes to the river. There he stood a
moment to watch the half-past three
steamer go down from the town up
the stream. If it hadn't been for the
•half-past three steamer to watch,
poor old Hutch would have had nothing
at all to do. He watched it every day.
The steamer gone, he settled as
comfortably as he could on the river
bank and dropped the line into the
water. Then he slept. He nearly
always slept. He nearly always slept
an hour. He slept an hour now.
And when he opened his eyes and com-
menced the inspection, it was to find
that although he had not had a bite
in the hour, the fish in the river had.
The worm was gone and the line was
empty.
" My word ! " said Hutch.
He turned to the bait can, and,
turning, kicked it over.
" My word ! "he repeated. " Things
do go wrong in a heap once they
start. Lost a fish and kicked over
the bait, and nearly found work — all
in one day. My word ! "
He dropped the rod by his side
and looked around and found a piece
of stick with which to poke. Then,
without moving, he began to poke,
where the ground was softest and
easiest. He poked a good while with-
out finding worms, and in ten minutes
was on the verge of giving in and
sleeping another hour, on the chance
that the worms would come up with-
out being dug for.
But he did not give in.
He had by that time dug up the
corner of an old sack, and something
about it arrested his attention. Some-
thing about it seemed as if
it might become interesting
a little later. He kept on
f ^ digging. And in a few
moments he had dug up a
sack, and was opening it on
%•> his knee, after first looking
\ carefully around to see that '
he was unobserved. Not an
' \ ordinary sack by any means.
A sack containing some-
thing square and hard.
And when he got it out
at last he found the
something square and
hard to be a cash-
box. And when
he opened it. . . .
" My word ! "
said Hutch
again.
There might
not have been
a lot of things
that Ort Hut-
chins knew, but
he knew a hun-
dred thousand
dollars when he
saw them.
He counted them. Thousand-
dollar bills. A hundred of them ! He
— Ort Hutchins — a hundred thousand
dollars — a hundred thou. . . .
" Glory ! " said Hutch.
As he had always been more or
less like a man stunned, he was now
rather like a man stunned back to
consciousness. He stared in the
utterest bewilderment at the money
in his hand, thinking over and over
again, " Hundred thousand dollars —
me — old Hutch — me — hundred thou-
sand dollars. . . . ! " But sufficiently
wide-awake to realities to keep his
eyes about him for possible watchers.
And when he heard footsteps coming,
slow footsteps firsthand then hurried
footsteps after, he was quick to thrust
back sack and money and cash-box
into the hole from which they had
come and cover them quickly with
the rough earth.
The slow footsteps were those of
his eldest daughter Ellen and Tom
Gunnison, son of old Tom Gunnison,
the graspingest old grasper in all
Willow Bend, and then some miles
abroad.
" Oh ! " said Hutch to himself.
" That's how the wind's blowin',
eh ? "
Ellen and Tom stopped at a little
distance, and the hurried footsteps
caught up. The hurried footsteps
were those of old Tom Gunnison
himself.
" I thought so ! " cried old Tom,
waving his fist. " I thought so, my
lad ! Runnin' around with that no-
good loafer's girl, what ? But that'll
JUNE 1922
THE- PICTU REGOE-R
39
soon be put a stopper to, son. Home
with you ! Off ! "
Hutch stepped slowly from his
hiding place.
" An' off home with you, Ellen,''
he said. " A Hutchins ain't never had
to step low enough to mix with a
Gunnison before now, and I don't
reckon there's any need to be startin'.
The Gunnisons is beneath us. You
ought to 'ave known."
Old Gunnison caught his breath.
" Ort Hutchins ! " he cried. " What-
ever do you mean ?
" Never mind what I mean," smiled
Ort. " Only I reckon the Hutchinses
has something better on than mixin'
with paupers like the Gunnisons, if I
should be asked."
" Why you — you ain't got a cent
in the world, 'cept wot you steals
from your wife."
'* No ? Well, then."
Hutch turned away and resumed
his seat by the river bank, taking up
his rod and line with a quiet smile.
The young man and the girl hurried
away under cover of their elders'
differences. Then old Gunnison snorted
and went back the way he had come.
Ort smiled again.
When the coast was clear he
hastily dug up the sack,
hurried some yards from the bank,
and reburied it under an easily
recognisable willow
bush.
" Stay and grow,
little money bush," he smiled. " Some-
day I'll call for yer. Not now, awhile.
.Some day. When it's safer."
For Hutch was very puzzled.
I can't suddenly break loose with
the money," he thought. " Not after
the life I've led. I never had a bean.
I can't suddenly 'ave a whole lot of
'em. I gotter fix things so's folks'll
say, ' That's Ort Hutchins — worth a
pile o' money, 'im '—and I gotter fix
it so's they ain't surprised to hear
themselves say it. And that's goin'
to take some fixin'. Now 'ow's it ter
be done."
He thought hard and he thought
long, and at .last the awful truth
dawned upon him. He must go to
work !
Work ! Ort Hutchins ! Him at
work ! Lordy !
" But there ain't no other way. I
gotter 'ave that dough, an' I can't
kid 'em the missus made it all outer
washin' — not a hundred thousand
dollars. It ain't done. Not outer
washin', it ain't."
So, there being nothing else for it,
Ort set about the business in what he
considered to be the best way. Be-
sides his buried hoard, he possessed
half-a-dollar coaxed from his wife's
earnings. With this he turned into
Mike's saloon. Besides what is usually
sold in saloons, Mike dealt in hats and
suits and groceries and coal, and
anything you wanted.
" Mike," said Hutch, out loud, so
that those round the stove could
hear, " Mike, I want a hat."
" You sure do ! " grinned Mike.
And he sure did. Hutch's hat had
been Hutch's father's before him.
" Show me some."
Oh, yes ; Mike could show him
some. He did.
" Nice hats, ain't they ? " he
grinned.
Hutch grunted and fixed on the best.
" Reckon this suits me."
Suits
( you all right, Hutch,"
agreed Mike. " Only it's half-a-dollar."
" No need to get excited about
that," said Ort, flinging the half-
dollar on the counter. ' Time I had
a bit of a fit-up, I reckon. I been
savin' up all these years an' gettin'
nothin' for it. Time I've made a bit
of a noise, I say."
" You've been — what ? " gasped old
Gunnison, perched round the stove.
" Savin' up."
" Lordy ! What outer ? "
" Out o' what I got fer my work."
There was a general laugh at this.
" I should say ! Work ! You ! "
" Let me tell yer," flashed Ort.
" It ain't every feller who takes his rod
an' line to the river spends his time
fishin', you know. Appearances ain't
alius wot they seems to be. I reckon
I played this little town up all right
enough. You thought I was just
lazin' around, eh ? Let me tell yer.
All these years you thought I was just
lazin' around, I was puttin' in the
hours good and hard with the city
folk at the holiday camp up the
canon there, and I've put a bit more
by than some of you chaps could
count up if you started."
" Oh ! Oh ! How much, Hutch ? "
" Enough to buy you up if I wanted,
mebbe."
An' where is it ? "
It's . . . oh, in the
" I should say !
" Where is it ?
bank ! "
Saying which he turned on his heel
and walked out.
" He talked like he meant it," said
old Gunnison when he was gone.
'•' Ort Hutchins ! 'Im ! To think
Ort wandered home so restf ully, that
the reputation had got there before
him. Then he found himself up against
the necessity for more hard thinking.
Did I ever*take up a thing I didn't go on with ? " asked Ort indignantly.
40
THE- PI CTU RE-GOE-R
JUNE 1922
The horror
of the dis-
covery had
left him
dazed.
" What's this, Ort ? " his wife de-
manded. " You bin — workin' — an'
puttin' it by ? "
Ort evaded her eye.
" Course you know," he said. " I
wanted to leave my wife an' kids
well fixed when I die. You see,
Mary. . . ."'
Suddenly she sat and buried her
face in her hands and sobbed.
" It don't matter," cried Hutch.
It don't matter wot sort o' news
you give a woman, they starts 'ollerin'.
It beats me. Listen, Mary. P'raps
you wunnerin' why I never said a
thing about it. Well, I ain't a bragger,
Mary, and I never was ; an' besides,
I wanted it to be a bit of a pleasant
surprise for you, an' . . . Oh, I
dunno. There's another thing, Mary.
Now it's all out an' there's no need
to keep it dark no longer, I reckon
there'll be no harm in taking up old
Hiram Joy's ranch and see what we
can make of it. You can wash out
the washing, Mary, and give me a
hand up there. Hiram reckons it
won't stand no hired help at first,
but'll pick up wonderful soon."
You mean this, Ort ? "
" Mean it ? Did I ever take up a
thing I didn't go on with ? " asked
Ort indignantly.
" Can't say, Ort. Never knew you
take up a thing."
That night Hutch went along the
street and had another talk with
Hiram Joy, and insidp a week the
Joy ranch on the hill was being worked
by the Hutchinses — father, mother
and family — and the reputation of
father for hard work was growing and
growing and growing and growing —
much to father's disgust. But there
was no other way.
. Not a day passed without Hutch's
customary visit to the little money
bush.
Keep on growin' an' lookin'
pretty," he'd say. " I'll be callin' for
you proper soon."
The summer dawdled along, and
the farm prospered beyond all
expectations, and Hutch, to his vast
surprise, discovered that he was mak-
ing money out of hard work. There
was not too much pleasure in the
discovery, but there was surprise. In
the first quarter's trading he made a
thousand dollars, and he drew a
thousand dollar bill and showed it
around the town plenty, just to let
'em see he was used to the things."
" Better prepare 'em for it," he
thought.
One evening^ he strolled down for
his peep at the money bush. Soon
would come the time for the harvest.
But on his arrival there was sur-
prise piled on surprise. A dark-skinned
foreigner — a wandering gipsy — was
chopping down the bush and building
a hut above it.
" Hey ! " cried Ort, rushing forward.
" Stop ! You can't do that."
" Oh ? " said the gipsy. " But why,
now ? But yes. But I can. I have
the permeesh."
' The permeesh ! " cried Ort. " I
don't care if you have a hundred
permeeshes. You can't "
" Mr. Gunnison, which own the
land, he give me the permeesh for
all the lots of years, and I build the
'ut on it, and I stay on it, and you
can commit, suicide about yourself
with great pleasure for all the care
I have about you."
" But "
Ort turned away, baffled and beaten.
Little money bush ! Cut down 1
Built over 1 What's the use now ?
He met Gunnison in the store
saloon.
" Oh, Gunnison," he said. " That
land o' yourn down by the river,
where the foreigners is pitched. I
gotter bit of'n idea for a bungalow
for the wife an' kids. The ranch ain't
too nice an' handy for 'em. Now, if
you could make it your business to
sell. . . ."
" Yes ? Well," the squeezer con-
sidered, " say a thousand dollars, and
it's yours."
Inwardly staggered at the impu-
dence of the price, outwardly Ort was
calm as ever.
" Yes, that don't sound unreasonable,
Gunnison," he said. " I'll let you
have a answer by mornin'."
Willow Bend, crowded round the
stove, gasped with astonishment.
" Lordy ! " it whispered. " He
must have piles and piles of it."
Ort lazily strolled down the street
to the bank, and called in to see
Hiram about it.
" There's a bit o* land down by the
river I'm wantin' for a little place for
the wife an' kids. It's the only place
I can get 'em to like. It's Gunnison's,
and he wants a thousand. I've talked
and talked and talked with him no
end, and argued till my voice has
pretty well broke again, but he won't
come down on the price. Now, it's
this way, Mr. Joy. I made a hundred
thousand on the tradin', but of course
some of it's gone in expenses an'
things. And then there'll be the cost
of the little house. I been kinder
wonderin'. ..."
" Hutch," said Hiram. " You're a
winner. I've closely watched the work
you've put in that farm. You've done
the work of a dozen men. You've
won out, an' I know I can bank on
you. I'll give you a bill for a thousand,
and we can call it off your next
trading. Only too glad to. The way
you're going, the place'll be your own
inside a year or two."
Ort returned home in a state of
great satisfaction that evening. Mary
was at the gate to meet him, the
children gathered round. Thus it was
every evening now.
" This," sighed Mary, " is what
I've dreamed of for years. And
now — look at it ! "
Ort looked at it and agreed it was a
dream. Gone the squalor and the
filth that had been their home atmo-
sphere in the rough home down the
street. Now Mary was smiling and
happy, the children well clothed and
clean, and Hutch himself, for the first
time in his career, well dressed, well
set up, his slouch gone, a look of
pride on his face.
" Ain't it worth workin' for, Ort ? "
Mary beamed.
" Ain't it just ! " laughed Ort,
meaning not quite the same, but
meaning it strong.
[Continued on page 6j.
JUNE 1922
THE- PICTUR&GO&R
41
licture £oer^ larodie,
13
HITE
(After starring in film serials for so many years, Pearl White found
feature stories too tame for her taste, and is once more a to-be-continued star.)
^*m here with a smoking revolver, surrounded by corpses galore,
• A-kidding the movie-producer I've not done a murder before.
The villain is nursing a fracture, and cursing aloud with the pain,
But I'm calm and cool, I feel nobody's fool,
I I'm back to the serial again !
Back to the serial again, people !
Back to the serial again ;
J^ Murders and fights keep me happy o' nights —
I'm back to the serial again !
I've played in Society features, and pictures that dealt with the West,
I soon got fed up with their tameness, the week-by-week story is best.
The story where everything happens, where folks in their hundreds are slain.
To help them to die is the real reason why
I'm back to the serial again !
They think I am new to the business — a green little photoplay girl-
And so they are busy preparing the film persecution of Pearl.
They'll throw me to sharks in the ocean, or under the wheels of a train,"
But I'll be on the bill as the girl they can't kill
Now I'm back to the serial again !
Back to the serial again, people,
Back to the serial again ; >
Poison in tea is a health-drink to me —
I'm back to the serial again.
I waltzed right away to the villain, and said to him, "None of your jaw;
You can't feed me arsenic-candy, I've been in a movie before.
The poison you put in my scent-spray won't cause me a moment of pain ;
And that bomb in my bed is just right for my head.
I'm back to the serial again ! "
42
THE PICTUR&GOE-R
JUNE 1922
CROOKS
COMEDIES B
^CHOPIN
a/2
Film-making with Walter Forde.
it was with knees a-tremble and cold
shivers playing death music up and
down my spine that, led by Walter
Forde to a chair, I sat down to tea
with six of the toughest-looking
toughs that it has ever been my
„. luck to meet. Petticoat Lane |
on a Sunday morning was
Arcadia compared with that tea-table !
I kept my left hand clasped tightly
around my hand-bag whilst, between
nervous gulps, I ate a piece of cake. I
imagined that at any moment my death
signal would go up and the crooks would
set about me.
The fact that Walter came and sat
next to me reassured me somewhat, for,
when I had sufficiently recovered to
" drink in the details " of his dress, I
found he was attired as " D'Artagnan."
" You're quiet," he commented. " Any-
thing wrong ? "
"These men ! " I gasped. Then Walter
laughed loudly — and upset his tea. The
bold, bad buccaneer directly opposite me
smiled under his "Old Bill" moustache
until the corners of his mouth almost
reached his ears and the whites of his
eyes looked fearsome against the yellow
of his make-up.
" Where did you find them ? " I enquired.
" They're friends of mine," came the reply.
I moved away from Walter, and my thoughts flew to the
safety of my own fireside.
" You see," he continued, " I couldn't find anyone who would
do what I wanted them to do in this film, so I had to rely on my
pals — they don't mind what they do——"
Visions of murders stealthily done out of reach of the glaring
Cutting a comedy is hard work.
studio lights swam before my eye9.
Then Walter's voice roused me again
from my reverie.
" As I was saying, they don't mind
what they do — yesterday that one
there " (and he pointed to a 1922 Bill
Sykes) " rolled downstairs fifteen times,
sprained his leg, and split his ear."
I breathed a big sigh of relief, and
drew my chair closer to the table again.
My blood began to flow normally once
more.
" We're ready," then announced
someone at the door. The crooks, the
moustachioed gentleman, and Wralter
rose together.
" Come up and see our next scene,"
he invited.
The set on which they were working
proved to be a corner of a room with
two exits (or two entrances, whichever
[Continued on page 62.
Walter Forde and Lady Doris Stapleton
JUNE 1922
THE- PICTU RE-GOE-R
43
M4KJ WHO
HAS EMERYTH
" Nature made his pretty face and made it well,
too, so I fail to see why Wallace Reid should be
blamed for it," wrote one of Wally's admirers last
month. Neither do we. Neither does Wally, who
bears up very well under the Strain of being con-
sidered the Flappers' Idol.
/M fe has a sunny smile and an optimistically light-
hearted personality ; ability of a higTi and un-
1 I common order — that happy facility of being
I able to do a hundred-and-one different . things,
I and do each one exceedingly well. He has a
I charming wife and a delightful five-year-old son.
I JL Hobbies enough to keep his hours of leisure well
f filled, and money enough to indulge in them
freely. He has a place at the top of the movie tree which
looks like being his for keeps. A place in the affections of
five out of every half-dozen film fans of every age and
every country. Also a new blue-and-gold Moorish-
modelled mansion for a place of residence out in Beverly
Hills. Not to speak of a very palatial mahogany-and-blue
dressing-room at the Lasky studios. He has kept his
head and steadfastly refused to let success and adulation
spoil him. So we'll allow Wallace Reid is a lucky man and
has everything heart can desire.
The Reid family live next door to William S. Hart, and
opposite William Desmond's residence, and when I invaded
their abode one broiling afternoon, the maid kindly but
firmly refused to admit me on my word alone. I had to
produce perfect and reliable evidences of my identity
before she would say that Wally was trying out his new
Duzenburg car and would be along any time now. But
Mrs. Wally was home, so with her, in her lovely silver-grey-
and-blue drawing-room, I discussed something iced out of
a tall glass and her handsome husband.
" To-day," she told me, " has rained ' fans,' since io a.m.
Girl fans, of course, and I've had such a busy morning.
Wally was not home, although none of my visitors would
believe me when I told them so. So I had them have a
good look round for themselves, and then they departed
in peace — after I had given them some signed pictures
to take away with them. So you can understand my maid's
mistake, can't you ? "
Dorothy Davenport Reid, to give her the benefit of her
full name, is small and slight, with very big brown eyes
and close-bobbed Titian hair. As Dorothy Davenport,
she was a well-known leading lady until the advent of
Wally Junior, or " Bill," as they prefer him to be called,
caused her to abandon her movie work.
" For nearly five years," she said, brightly, " I found I
hadn't much time for anything but home and my sewing.
Not to speak of my husband and baby. Then we decided
to build this place, which, by the way, I designed. Not
the fireplaces, though. They're Wally's. He favours the
cobbly-looking kind."
I duly admired the spacious room in which we were,
with its silver-grey brocaded walls and deep-blue-bordered
Chinese rug. It has big French windows down both sides,
shaded by artistic grey linen draperies, embroidered in
cunning blue designs. The work, I learned, of Dorothy
herself. She showed me, too, her boudoir, and Bill's ,
nursery, the latter stocked with a wonderful selection of
toys and games of all kinds.
" Toy animals are Bill's newest fancy," Bill's mamma
smiled. " And his collection is growing every day."
We descended to the entrance hall again, and were just
in time to see Wally and his small son pull up the new car
with a nourish. It is red, like most of Wally's cars.
" She's a corker ! " he said. " Like to come for a spin ? "
Above : In his current
release, ' ' Sick - a -
Bed." Left : The
Flappers' Idol.
" Too hot ! " I
replied. " Better
introduce me to
Bill. '
" Come on, Bill,
you rough-neck,
and say ' Glad
tb meet you.' "
Bill said it — in
French, of which
accomplishment
they all seemed a little proud.
Then " Daddy's goin' to let me drive it," he said. " When
I'm long enough to reach down."
" He'll be some driver," Mrs. Reid called over her
shoulder as she preceded us towards the back of the house.
" Even Wally can't go fast enough for him."
" See what I missed," was Wallace Reid's next remark.
In my journalistic days there were no such things as
movie stars. And I can lay my hand upon my heart and
swear that I've never written an interview. Which is
more than you can say, isn't it ? "
W'allace Reid was clad in light, summery-looking
flannels, with the same kind of wide-peaked grey cap
I
44-
TH E- PICTU RE-GOE-R
JUNE 1922
i 0] * " v \
Wallace Reid and Elsie Ferguson in " Peter Ibbetson."
you've seen on his head in innumerable films.
There's a good deal of him, too. It gave me quite
a surprise to realise what a big chap he is. And
correspondingly broad-shouldered and athletic,
but quite unaffected and easy to talk to. Oh,
and exceedingly easy to look at, with his
faultless features and prepossessing
manner.
He looked longingly, I
thought, at the big bathing
pool ; but we went into his
own especial sanctum, or
" den," which looks out on it.
" Diving in the pool there
looks good to me," he said.
" Yes ; but diving into the
past must come first," I in-
sisted ; so we settled down to it.
" An old man's reminis-
cences. Put that down,"
Wally commenced, laughing.
" Having now entered the
sere and yellow
thirties "
" I thought
all masculine
•«*
As " Perry Dan-
ton "in" Always
Audacious."
screen stars
never passed 29,"
I interrupted.
" This one has,
anyway. On the
15th of last
April. Bill has
a birthday com-
ing soon "
" Tell me
what brought
you into screen-
land," was my
next command.
" Curiosity. And the
chance of trying some-
thing new. I'm fond of
variety, in some ways.
You get it all right in the movies.
I'd done a few things already. I was
one-and-twenty when I went to Selig's
as assistant camera-man. It happened
in Chicago, where I chanced to be
filling a vaudeville engagement.
" What did I do ? Played in a
sketch written by my dad, the late
Hal Reid, called ' The Girl and the
Ranger.' My part was so big you
could hardly see it. I used to get
out-of-doors as much as I could and
see the country when there was any
near enough."
Earlier . still, he told me, in his
schooldays he liked sport better
than Latin or algebra. And recalled
his efforts at verse, drama, and short-
story writing, many of which appeared
in the school magazine ; but others
never at all in print. Wally went to
the Freehold Academy, New Jersey,
then to Perkiomen Seminary way up
in Pennsylvania, and finally passed
his exams, for Princetown.
" But a little Princetown went a
long way with me," he confessed.
" Three years there seemed beyond
me, and I wanted to get out West.
Finally, dad gave in, and I hit the
trail for Wyoming. I was hotel clerk
there for a while. Routine work,
which I hated, but stuck to for the
sake of the strange and interesting
folk who came to the hotel. After
a while they engineered a wonderful
irrigation scheme, and I quitted my
desk job to be one of the party.
" Some folks might call it en-
gineering. Actually it was hard work
with a pick and shovel gang. At first,
that is. Afterwards, I learned to ride
and shoot, and box a bit, too. I guess
I finished growing out there. When
JUNE 1922
THE PICTURtGO&R
45
I went East again I stood over 6 ft.,
and had an appetite to match my
inches. I soon lost it, being a news-
paper reporter. But I liked the news-
paper game, and went from the
' Morning Star ' (it's long since dead
and done for) to the ' New York
Journal,' and then to ' The Motor
Magazine.' "
Wally was assistant editor, and
the part of his duties he liked best
was reporting all the motor races and
shows in New York City. He has
loved motors ever since, and what he
doesn't know about a car is less than
. nothing. Reid was successful at
everything he touched ; he was, and
is, exceedingly quick at grasping and
learning anything.
" Especially anything that's a change
from the last thing," he owned. " I'm
keen on doing a
little directing
now— for a change.
But it seems that
I mustn't."
I think, if he
did, he would prob-
ably miss the
appreciation he
gets as Wallace
Reid, Paramount
star. For, al-
though he doesn't
let it get into his
head, Wally's na-
ture is one that
thrives best on
applause and ap-
preciation. But
he has a way of
getting outside
himself, as it were,
and speaking of
his career and his
motion-picture
work as though
they belonged to
someone else.
Whilst he rum-
maged for some
old pictures of his
early film days, I
had a good look
at his "den." Its
keynote is variety.
So is Wally's, I
take it, in most
things. There are
books, shelf upon shelf ; all kinds, too.
Many of them French. A piano, all
sorts of musical instruments, from a
ukelele to a saxophone. Also a fine
victrola. Firearms and boxing gloves
galore. A bunch of pipes over the
fireplace that will rival Bill Hart's
collection, if it keeps growing. Skins
and other shooting trophies, golf
clubs, and a billiards table, of course,
and plenty of lamps. And a couple
of his own oil paintings. He draws
cartoons, too, but only for amuse-
ment. And although he can play
anything he hears, and adores music,
he has never tried earning his living
that way.
One corner of the den. is full of
photographs of the various lovely
girls who have co-starred with him.
Here I saw Wanda Hawley and Ann
Little, Bebe Daniels and Gloria Swan-
son, Agnes Ayres, Lila Lee, Elsie
Ferguson (in her flowing " Duchess
of Towers " gown), Lois Wilson, Geral-
dine Farrar (Wally is an opera fan,
amongst other things), and others.
He emerged at length with a
bundle of photographs.
" Here's one of the early movies I
made," he said.' " A bit of it, I mean.
I was leading man, and had been
loaned to Nestor by Otis Turner."
The picture was dated August, 1913,
and showed a broad-shouldered cow-
boy looking unutterable things at a
diminutive, dark-haired girl. Maybe
it was the photography, maybe the
clothes ; but both look years
older there than they do now.
Wally in
Western kit.
\v.--
With Agnes Ayres in " The Love Special."
" I was introduced to their star
on the lot this way," Wally grinned.
"'Mr. Reid, meet Miss Davenport.
Now tell her how much you love her.
Don't be so shy. Take her in your
arms as though you meant it. Now,
Dot, say ' Yes," and smile at him.' '
The sound of our laughter brought
Mrs. Reid along.
" I was seventeen, then," she said.
" I remember Wally wasn't with us
very long. He left to direct for
American, but he'd proposed to me
already when we were out riding
together."
"She said 'No,' and meant it,"
put in Wally. " And when I came
back to Universal
again it was as
S star and director.
And, after try-
ing out several,
the firm engaged
Dot as my lead-
I inglady."
''And we
quarrelled.
F Dreadfully.
Didn't we,
:.'V-i-*yV ' ' -^.% Wally ? Until
the day he was
injured doing a
stunt, and went into hospital. After
that, you know what pity leads to."
About a year after they'd first met,
right in the middle of making a pic-
ture, too (The Lightning Bolt it was),
Wally and Dot were married at
Hollywood. Very simply, with only
Mrs. Davenport, Ruth Roland, and a
couple of boys working with Wally's
company in the secret.
" On Oct. 13, 1913," said Wally.
" Thirteen is my lucky number. Just
thirteen months later we went to a
tango contest, where I was No. 13,
and won first prize. And the dance
had thirteen rounds.
" We worked together for a bit,"
he continued. " Then I played in
Birth of a Nation (only a smallish
46
THE PICTU RE-GOE-R
JUNE 1922
part, though it was a strenuous one),
and my first big chance came through
Cecil De Mille."
Wally thinks there is no finer
director than De Mille. He engaged
Reid to support Geraldine Farrar in
Carmen, Joan the Woman, and Maria
Rosa; and, very shortly afterwards,
the leading man became a star.
Laskys found he had brains as
well as good looks, technique as well
as dare-devilry, and they . tried him
with half a dozen different kinds of
story before Believe Me, Xantippe, a
breezy, light comedy, established him
in public favour as the ideal matinee-
idol type. Then, in his next, The
Roaring Road, he co-starred with a
motor, and the combination was
irresistible.
Wally has " stills " of most of his
early Lasky successes. He showed
me himself and Cleo Ridgely in The
House of the Golden Windows, The
Chorus Lady, The Love Match, The
Yellow Pawn, and The Selfish Woman.
Later ones were Man of Music Moun-
tain, Rimirock Jones, The Squaw-
man's Son, and one tiny faded print
of an old Griffith picture, Old Heidel-
burg, with Wally as " Karl," and
Dorothy Gish as'" Kathie." '
Reid has been ornamenting the
Lasky " lots " close on seven years,
and his contract has still some time
to go. Recently an Exhibitors' Cir-
cuit offered half a million dollars for
his release, but Famous-Lasky do
not want to lose him. Neither does
he want to leave them.
He reckons some of his 1919
work amongst his best : his later
productions are so well known that
they hardly need enumeration here.
" Peter Ibbetson," he said, " gave
me my chance to be serious, and
also some fine opportunities for
characterisation. But I had to
grow my hair long, and be mar-
celled.
" Monte Love took out some of
the ' marcel ' when we had that
big fight, though I " he chuckled.
" It has been comedy more or
less ever since, except for Anatol.
Did I like Anatol ? Well, some
of it. It wasn't a great acting
part, but I liked being back,
with De Mille and many former"
friends."
He has lots of friends. Every
other movie star you name
will elicit " Oh, he's (or she's
a great friend of ours."
Wally Reid's most recent
feat was boxing Kid McCoy
for the middle-weight cham-
pionship belt of filmland. He
has also, he confided, entered
his new car for one of the
forthcoming races
and means to
drive himself.
We discussed I*
his other hobbies
before I left. He is
very proud of his
Laboratory, where
he sometimes spends half the night.
Surgery is another fad of his, and
he is unofficial surgeon - in - ordinary
when out on location. His son
Bill, too, it is easy to see, is his
best beloved hobby, and Wally has
some interesting theories of develop-
ment, both mental and otherwise,
which he looks to Bill to prove. Con-
juring is a side-line, too.
He told me about his two short
excursions into stageland. The first
time he played the part of " The
Chauffeur" in "The Rotters," at a
Los Angeles theatre for three weeks,
and received a thousand dollars each
week-end. It was quite a small part,
as picturegoers who have seen the
play will remember. Sick-a-bed,
which is a film he starred in, was
also put on at Los for a week or
two, and Wally played hero in
that, with Kathleen Clifford in
Bebe Daniel's r&le, and King Baggot,
Otis Harlan and Vivian Rich in minor
parts.
Wallace Reid's proposed trip round
the world has not yet definitely
materialised. He wasn't certain what
he'd do with his vacation ; said he'd
wait till after the races, anyway.
Mrs. Reid is contemplating another
film soon, she having long finished her
first Lester Cuneo production, an
open-air story, in which son Bill
faced the cameras for the first time.
' ' J ust time for a swim before dinner, ' '
Wally announced, as I finally closed
my note-book. " Come on all."
But I preferred to watch. All three
are proficient performers ; the youngster
swims better under water than other-
wise, and Mrs. Reid's summer swim-
ming parties are famous institutions.
I exchanged somewhat damp hand-
shakes, and left them to their watery
delights.
Left : In " Double Speed."
Below : frith Bebe Daniels in " Sick-a-Bed."
JUNE 1922
THE- PICTUREGOE-R
47
v
ArtAcord
FINDS THE PERFECT
C I C A R ETTE.
THE Proof of the
"Pinnace" Cigarette is
in the smoking. The Tobac-
conist himself judges the
Standard of Quality by com-
parison with * Pinnace."
There is nothing else
as good as 'Pinnace.'
£750 offered in the Summer Com-
petitions in Cash "Prizes. Photos
exchanged as usual. Full particulars
in every packet-
TWENTY
for 11^: i
Codfrey Phillips" Lip London
Aii Innocents
in Movieland r
K.K:GTkROWNE
Aome years ago I wrote a story.
I It was, of course, a superlatively
^k good story, and one that for
^k sheer human interest, strength
■ of characterisation and mas-
terly technique can rarely, if
m ever, have been surpassed.
^J Nevertheless, an editor bought
it, and, what is more, imbued no
doubt with that sense of gracious
pity common to all editors, paid me
for it. It was really this incident
which started me definitely upon a
life of crime.
When, therefore, a week or so ago I
received from Quality Films an in-
timation of their desire to render my
story immortal in celluloid, it seemed
to me that Quality Films were beyond
a doubt possessed of a very fine
judgment and should go far. When,
upon my glad acceptance, they in-
vited me to come and see the deed
perpetrated, this impression was con-
firmed.
■ It appeared that the ceremony was
to occur at Clapham. I had never been
to Clapham before, and did not even
know whether the natives were hostile
to travellers. So, as a precaution
against snake-bite, highway robbery,
and loss of memory, I prevailed upon
no less a personage than the Editor
of " Picturegoer " to take my hand in
his and lead me to the scene.
We journeyed to Clapham, regard-
less of expense, upon a 'bus, and, with
very little trouble, thanks to an in-
habitant who had a smattering of
English, discovered the studio where
lurked Quality Films. In the studio
we came
upon Mr.
George Coopci,
who is what the
evening papers would
refer to as " the genial producer."
Having overcome his natural reluct-
ance to believe that I was the man
who had written such a staggering
story, we entered the sacred precincts.
I had never been inside a film studio
before, and it looked to me more
like a furniture depository than any-
thing else. It transpired that this
effect was caused by the recent
dismantling of a set which had served
An amusing account of an author's
sensations whilst watching his
dream children materialise before
the eye of the movie camera.
its period of usefulness. At this point
I tripped over a cable, which sprawled
across the floor like some overgrown
snake.
" Hullo ! " said Mr. Cooper. " Mind
that cable. There's another one just
there."
I minded it. Indeed, for the first
ten minutes after my arrival I did
little else but mind cables. The in-
habitants of the studio seemed to
move about with the utmost freedom,
minding cables by instinct. I, on
the other hand, found it necessary to
travel in a series of irregular leaps and
shuffles until, as it were, I got my
studio legs.
" Come and have a look at vour
Scenes from " The White Rat."
Ernest Douglas and Sidney Folker-
Sidney Folker and Adelaide
Hay den Coffin.
Ernest Douglas as the Moneylender-
,* set," invited Mr. Cooper. I
accepted gladly, although uncer-
tain in my own mind as to whether
this constant talk of " sets " referred
to tennis, false teeth, or dominoes.
It was soon made clear to me that it
referred to none of these things, but
to nothing more or less than what I,
in my childish innocence, had always
thought of as ■" scenery."
" This," explained Mr. Cooper, " is
the moneylender's room."
"A bit draughty, isn't it ? " I said.
You know, he's supposed to be an
old man, and at his time of life a
room with only two walls might very
easily lead to pneumonia or something
equally fatal."
Mr. Cooper glanced meaningly at
the Editor of " Picturegoer," and raised
his eyebrows. The Editor of " Pic-
turegoer " nodded pityingly.
" Don't take any notice of him,"
he said. " He's never been in a place
like this before."
"Ah ! " said Mr. Cooper. " That
explains it, of course."
I assumed this to be some form
of private conversation, so I moved
tactfully away and examined the
moneylender's apartment.' It is true
that it had only two walls, but those
two walls were of a toughness and
durability that is seldom found in a
modern flat. I have a lively recollec-
tion of the earlier epoch in films when
all interiors used to sway gracefully
in the wind and everybody appeared
quite accustomed to living in a species
of home hurricane. There was nothing
of this about the moneylender's room.
It was the real thing.
[Ccntinucd on page 60.
JUNE 1922
THE- PICTUR&GOE-R
49
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THE- PICTUR&GOE-R
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JUNE 1922
THt PICTUR&GOtR
51
/^rime and criminals form the sub-
^y ject of the larger part of this
month's releases. There are fewer
(British films than usual, and not a
great many cowboy stories. Max
jLinder's long comedy. Seven Years'
\Bad Luck, is first-rate farcical enter-
tainment, and Wally Reid and Hebe
Daniels may be seen in a light and
amusing trifle, Sick-a-Bed, in which
;Reid plays the invalid to oblige a
friend, and falls in love with a pretty
•lurse. Many well-known plays appear
n film form. Barrie's What Every
Woman Knows introduces two ex-
ceptionally clever players in Lois
Wilson and Conrad Nagel, and is the
>nly American film to date that has
baught the true Barrie touch in both
icting and sub-titles. The story, also,
pas remained unchanged. A British
■ersion of this play was released not
• great many months ago, with Hilda
'revelyan in her original part of
Maggie Shand." This was, however,
n a smaller scale than the current
f lelease.
"^ on way Tearle looks exceedingly
worried throughout the five reels
f I he Road to Ambition. True, he
as plenty to worry about, for he plays
steel-worker who, becoming a mil-
onaire, marries a girl who only loves
is money, and has to fight hard before
he finds happiness ['he early scenes
show Conway as the man in charge of
a huge process machine in a foundrj
These settings are excellent, and pro
vide the background for one of the
many lights with which the action is
besprinkled. Conway Tearle is good
as the hero, and Frances Dixon makes
a'pretty and natural heroine:, and the
" shots," at the commencement of the
film, showing various departments of
a big steel works and foundry, provide
good atmosphere.
Usually it is certain that a Douglas
Fairbanks comedy will have a
hero who is quite unusually athletic.
Also one expects — and gets an ori
ginal sense of comedy and inventive
ness. In The Nut, Fairbanks has a
very thin story, not so good as that
of many of his other films, but bright
and amusing because of the funny
stunts and cleverly developed inci-
dents. It is farcical stuff, at best,
but " Doug's " automatic dresser alone
is worth going to see. The lazy hero
who owns it is carried out of bed along
a moving platform, every item of his
toilet being attended to by automatic
means, until he emerges in full sar-
torial glory. This " Charlie Jackson
is described as an eccentric young
fellow, and Fairbanks makes him all
that and more. Little Mary Pickford
Rupp I .hi ne l 'ii klord s daughter)
makes a fleeting appearance in one
scene ol Tht Nut, and we ha\e Mary
I'ickford's own word for it that keen
eyed picture lovers will be able to see
hei also iii one or two of the crowd
scenes Marguerite de la Motte is
the heroine, and lovely Barbara la
Mann has a smaller role.
Hphe story ol Tin Idol oj tht North
1 was written especiallj for Doro-
th\ Dalton, and gives her one ol those
passionate, dominant roles which suil
her so well Dorothy's first success
was as a dance-hall girl in a story of
the Klondyke, called The Flume oj the
Yukon, which showed her as a some-
what primitive daughter of the wild
North. Her current release is her
best feature since that early success,
and one cannot help wondering why
la Dalton docs not specialise in these
roles once more. The tempestuous
heroine of The Teaser, as The Idol of
the North was first titled, makes play-
things of the rough miners in an Alas-
kan town. They, in revenge, marry
her to an inebriated Easterner. The
girl, however, makes the best of her
bad bargain and regenerates him.
Atmosphere, tense action, and good
suspense atone for a story which is
not highly original. A good few
rough-and-tumble fights and strong
THE- PI CTU RE-GOE-R
JUNE 1922
I liirkv 'log and Miriam Cooper in an osculatorv interlude.
crowd scenes make up a thrilling and
effective picture.
A clmirers of E. K. Lincoln should
l\ nm miss his June offering, The
hnur Voice, which gives him a fine
role, and is an excellent and exciting
drama. Lincoln is seen as " Mark
Keid . " an itlealist who inherits a gold
claim. Three different stages of this
man's life are shown, and the acting
chances are great ; and the story,
dealing with mines and San Francisco
(lance halls and underworld, is a red-
blooded and fast-moving one. A
character known as 'The Good
Samaritan " appears throughout the
story, every time the principal charac-
ters are about to commit actions
unworthy of them, and by his influence
puts matters right . Clearness of outline
in the continuity and realism in detail
especially in the mining claim fight
.ire notable points in a thoroughly
interesting and virile drama. He-
sides his dogs and his acting activities,
1 K Lincoln is the owner of modern
motion picture studios at Grantwood,
New Jersey, and Blandford, Mass
lie was in Europe last year, but, as
he travelled incognito, he was quite
unmolested by interviewers and press-
men.
\ fascinating, if somewhat slow
«. ~V moving story, good acting, and
very beautiful settings and lighting
effects, make The Oilier Woman an
interesting release A drama of dual
personality offers many opportunities;
witness the sue icss of 1>> Jekyll and
M, Hyde, which The .Other Woman
il u1 only superficially. The
hero is an abnormal character, but
this is not apparent until well on
towards the end of the film. An
erstwhile tramp, he is rescued by a
man who hails him as a former business
partner. He becomes successful, is
nominated for mayor, and is in the
midst of a romance when his memory
returns, and he remembers that he
already has a wife, to whom he
returns. But later he goes South
again, picks up the threads of his
life the 'e, and his other personality
becomes dominant again. There is
good suspense for the spectator in
trying to puzzle out how the tangle
will be unravelled. Jerome Patrick
plays the Jekyll and Hyde hero,
and Jane Novak and Helen Jerome
Eddy the two women into whose
lives he comes. The film was adapted
from a novel by Norah Harris.
Pearl White appears this month in
a story of lumber-camp life,
which allows her to display all those
gifts for daring stunt work which
have made her serials so well liked.
She is seen as a mountain girl, known
as " the he-woman," because she is
called Alexander, and dresses as a
boy. Pearl's adventures and feats
are numerous and hazardous enough
to satisfy even the most exacting
serial lover, as she indulges in some log
distributing work, also much riding
and shooting. The final reels of the
picture arc devoted to " Alexander's "
choice of a husband, and arc amusing
and clever. The thrills include two
realistic fires, also vivid scenes of
huge trees being felled, and the
bursting of a huge dam. Admirers of
Pearl White who like her best in
serials will be glad to know that
she has returned to the scenes of her
lormfcr triumphs, and is now making
a thrilling chapter-plaj for Lathe's.
She has recently been seen in a
revue in Paris.
Circumstantial evidence, centring
around an Egyptian ring, forms
the main idea of The Scarab King, a
mystery melodrama, well staged and
very well acted. It commences
somewhat mildly, but the ending is
surprising, for the heroine, after having
been cleared of suspicion by a clever
lawyer, confesses to him that she
really was guilty. Extenuating cir-
cumstances, however, enable her to
enlist the sympathy of the spectator.
Alice Joyce has been seen in few such
stories since Within the Law, but her
acting is always restrained and accept-
able. She has less opportunities for
emotional work than usual. Two
love stories are contained in the film,
which is well staged. Alice Joyce
seems to have retired permanently;
there was some talk of her Vitagraph
contract having another year to run,
but she is still devoting herself to
her husband (James Regan) and her
baby daughter. She will be seen in
some very good society dramas to-
wards the end of the year.
In Madonnas and Men, the same
story is told in a.d. 2j and the
present century — 1920 is the exact
year, we are told. It is a dramatic
tale, and elaborately spectacular, with
its enormous crowd scenes in arenas
of ancient Rome and cabarets in
modern New York. This alternation
of ancient and modern settings gives
a novel twist to a society melodrama,
and is presented in an unusual manner,
for the Roman scenes are used as a
background for the society drama of
to-day, not, as is more usual, as
inserts. But the society story. would
be equally effective dramatically with-
out them. The title has little bearing
upon the film, which is gruesome in
parts, but well acted and most .-skil-
fully produced. Especially well staged
are the Roman arena scenes and the
effective fight at the end of the modern
story, Before the spectator has well
grasped this, he is switched back to
Rome again, and the intensely, dramatic
scenes there are by way of being
anti-climatic. Still, lovers o1 melo-
drama and spectacle will find Madonnas
and Men very satisfying. Ander*
Randolf, Rave Dean, Faire Hinney,
and Gustav von Seyffertitz are the
principal players.
Another favourite childhood classic.
The Lamplightet (in its film form),
stars Shirley Mason. This appealing!
screen tomboy makes " Gertie," '.!;
much harassed orphan heroine, a
natural and life-like figure. Shirley
is excellent in all the stages of the
her. line's hie, and her enforced pathos
will bring tears to the eyes of main
soft-hearted picturegocrs. The plot
is an old-fashioned one. but it is full
JUNE 1922
TH& PICTUREGOER
53
Til heart interest, and all children,
and must women, will enjoy it
Shirlev Mason's appeal seems most
poieni amongst picture fans of her
nun sex She will he seen in a greal
sriety of roles this summer; nearly
all of them are child and very young
■_;irl parts, but of many different
nationalities. Shirley is the youngest
of the i lever p'lngrath sisters, and is
Mrs Bernard Durning in private
life. Raymond McKee, who plays
" Willie " in The Lamplighter, fell a
victim to sleeping sickness at the end
ol the production, and slept away
three months of his existence. He
is none the worse, fortunately, and
busy on a film for Goldwyn at
present.
Charles I-e Hargy, a famous actor,
better known in France than
here, is the chief attraction of Out of
the Depths, an Italian film suggested
by a Balzac sketch It tells of a typical
old soldier who is supposed to be killed
in the wars and whose wife marries
another. The Balzac story v\as set in
early nineteenth -century limes: the
film does not adequately convey any
particular period, but it contains some
picturesque cavalry snow scenes, and a
good character-study of the pathetic-
figure of the returned soldier by M. Lc
Bargy. All the acting is good, and the
photography excellent ; but, though
there are dramatic moments, the photo
play cannot be termed a drama.
It is, however, logical in construction.
Mine. Pergament, U. Zamicoli, a\m\
some interesting kiddies support l.e
Bargy.
"I_?eminine film lovers will find The
1 Inside of the Cup appeal to them
for many reasons. For, though it
deals with Capital and labour in some
ile^'ree, its main theme is the fact that
some people arc for ever condemned
to live in poverty and sadness, whilst
Others enjoy happiness and wealth.
A problem the apparent injustice of
which attracts every thinking !>em^.
I he modern ( hurch. loo. comes in for
a vi athing indictment, for the grasping
financier who is responsible lor mosl
of I he tragedy in The Inside <>/ '/i, Cuj>
is what is commonly termed a pillar
of the Chun h " The story is powerful
and brilliantly analytic ; it also is an
excellent study of universal brother
hood. It might be accused of melo
dramatic tendencies were ii not lor the
excellence of the acting, in the all star
cast of which William IV Carleton and
Marguerite Clayton's are the Inst
known names, and each one is an ideal
type. Albert ( ape Hani produced, and
some pretentious sets, especially the
church scene, are well utilised
Carmel Myers appears as the heroine
of two films this month. As the
light hearted little actress who marries
a highbrow artist in la Frilly's Inn!,
she looks charming, and is vivacious
or meek as the scenario demands I he
incidents are well put together, though
the story is only mildlv interesting.
Thomas Holding plays the husband,
and is adequate in a somewhat thank
less role, for the artist he portrays is
an unjust, unappreciative kind of fel
low Some elaborate masquerade and
dinner scenes and some effective tint
ing adfl to the interest ol the film,
which is nicely produced and photo
graphed. In The Mad Marriage, her
other release, she is again the wife of
an artist, who is extremely tempera
mental. But Carmel Myers is seen to
better advantage in this than in the
lirst mentioned feature, for her pel
sonahtv is shown more clearly. The
story is set in Greenwich Village (New
York's Chelsea), and the film is
adapted from Marjorie Benton Cooke's
story, " Cinderella Jane." Neither
hero nor heroine are particularly sym
pathetic types. The outstanding
feature of the production is a beaut i
fully staged pageant.
Otreel i leaning would Seem to b<
' -i Hue1 hint; uiu of Ion. Moore *
usual line Yet he makes ipiin i good
roughneck in I !■>,'■( Y<nn I
though he is not quite burl) enough
to really convince Because he had
the posl of handling "t he red Hag when
they were using dynamite for some
road mending operations, Daniel
( ana\ an, t he hero rlev elops i <m
fidence in himsell lo such a degree
that he blossoms forth as i political
chief and marries a society ln«l\ I In
comedy element is well brought out in
all this, and original and delight full)
amusing sub titles are a distinguishing
feature of the film. There is plenlv ol
good incident, too, especially in : In-
early reels ol the photoplay I lie last
reel or so become somewhat ordinary
It is a picturisation ol a Saturday
K veiling l'ost" story bv Rupert Hughes,
and Naomi didders is once more Seen
in support of lorn Moore The two
have- played in so main societv and
semi society features thai it is .: n
freshing novelty to .see them in such
an entireb different setting
In Honest Hutch, Will Rogers scores
again, and heav il\ . An ingenii ins
though simple and quite obvious
story that is. obvious so far as plot
goes and a handful ol pci fei tl) cast
types assist him. The whole thing,
though, is as reahstii as it is amusing.
Rogers portrays a loafing farmer who
has never .lone a day's honest work ill
his life, and never means to if he can
help himsell There is irony, therefore,
all through, from the very title, and
vet Will Rogers, whilst convincing the
onlooker that he ^ a worthless fellow,
still manages to show him in such a
light that one wants \d make aflei
tionate excuses lor him. The sub lilies,
too, are redolent ol Will Rogers; and
the photography is all good, with one
particular!) novel efteel showing an
exterior scene with a dimmed view
through a window ol a woman al work
I These wonderful reproductions arc nol to
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(Ucpt l\G)
54
THE- PICTURtGOER
JUNE 1922
WHEN YOU TAKE OFF
YOUR HAT.
Niimnii i !ini,- brings mit the 1" si ""I lh<
». .i -i in woman's lo. >k 'i l»i w .ii :n n . .iili. i
i, inptj u- in elm >w "ii .mi hats .Hid i u |i i\
1 1]< .mi .mil hi. . /<■ . mi ■ ui Inn- heads Hut
w hat ,i pitilul iev< lation tin.- removal ol n
, y |, at . .in he ! Too often tin hair
|.< i,. ,nl, is thin .mil dull, and the pitili is sun
(1,( , out evi i v split hair and faded
treali N it beautiful ban is the rigid of
ever) woman, young and old, plain and
|>l el i \
\\ , all stai i with i qual • ham es in thi
matti r ol h lir, but through ignoran
neglei t , numbi rs of w unen let the i "ii
diti i tin ir loi ks di tcriorati in an alarm-
ing manner Most people are dreadfull)
( ai elcss in thi ' In 'I' e .,1 a sham] Many
shampoos dry up the roots ol the hair and
cause it t" become thin and brittle.
A perfect shampoo is pun: stallax. It lias
the unique property of acting i- a tonic as
well a- a cleanser. Instead ol drying up the
natural oil supply of tin- hair, it re charges
the ..Us with all that tin y have lo I b)
(uiiilng into contact with water or other
in nn i ,us agents.
It you us, this simple shampoo, you need
have no fear "I exposing your hair to the
most searching light; the sun will do no
muti than show up its beauty and lustre.
OXYGEN TO REMOVE
BAD COMPLEXIONS.
( >x\ gen has the |>. i uii.ii- t.u u!t \ • 'I d< -If. .s
istc inattei in the !« dv \\ ilhout affect -
althy tissues in the slightest degtec.
. bloteh) and lifeless complexions arc
,1 bv the ai -i uinulation ol wast, matter
which id'heres stubborn!) to the surface ol
the skin. 'I'll' most practical way t., appl)
oxygen t" tins wast, matter is in us,, mcr-
roli/.cd w.i\. such as may be obtained at the
, In mist shops, It should 1" i ubbed will
Hit" til. skm l"i several nights an. I wish.. I
,>ll 111 i he mornings, hi.,- i c .Id i ream In
contact with tin skin, it releases oxygen,
and thus clears Hi, skin .>l the disfiguring
\i a-t,- in ill, i It '- perfecth h.U n,h-ss.
|,|, asanl t" lls< and nid, . d yel \ bellel'n i.d
a- a skin 1 1
How 1 Permanently Removed
an Ugly Growth of Super-
fluous Hair.
By MARIETTA DI I'UM.oi ISA
I he ,i i ii kn< >w ii Mi ■/./<> Soprano )
II,, us, of greas' paint, as almost ever) one
who las ii-. .1 it night after night know-, is
liable to induce a growth "i superfluous
i In fan I was no except ion to i hi
rule, nid although nidi in my early twenties,
1 found, to in) horror, quite a strong growth
appi ,ii mi: up, i) ' Inn This caused in.-
[real -' 'ii in til a in, ml suggested the
usi "i a little pheminol mixed into a past,
with a lew (hops of water. 1 Pit very
doubt i il about the result, but soiiu thing
had i . , I „ d' ,in quii kly, si, I procured • me
,,iiiii' •'! this powder from in\ chemist and
appli" d ;t in ili. manner suggested, The
I rt'imiv . ,1 tile hair at the hi si
application, and the next da) I started using
; laste, and i ontinued doing so
f..i sevi id weeks. At the i nd of this riod
I i mid find in . i rai ■■ ■ ■! hair » hat. vcr, not
with i magnifying glass, and sue.- then
I l ivc n \ ' t been troubled with the slightest
i' 'ii < 't thi ng growth returning.
I consider the discovery ol Hi'- pheminol to
be th, greiiti ,t l, ".,11 , ii urtli.
Add Wanda Haw/ey's name to your list of movie golj enthusiasts.
in the house. Mary Allien is wonder-
fully natural and convincing as
" Hutch's" hard-working wife; her
astonishment when her husband«actu-
allv commences manual labour is a
spendid bit of acting.
1
wo of Stoll's Emineht A tithors series
are released this month, and
both make good .screen plays. In The
Four fust Miii, tlie well-known novel
by l-.dgar Wallace has been skil-
fully adapted and produced, and the
variety of interesting incident and
many points of originality make up
an interesting entertainment like
yet unlike a detective story. The
photography is good, and the film is
remarkable in that it contains nut
a single feminine character Cecil
Humphreys, t' Tilson Chowne, Tcddj
Arunclelland C. II Crokcr King plaj
the " just Men,'' The other film is
Frailty, from the novel by Olive
Wadsley, and is a social drama with
a somewhat vague and rambling plot,
lint the technique is good, and Madge
Stuart, Sydney Lewis kanson, and
Rowland Mvles are natural in their
roles, 'I he exteriors are line and the
photograph) good. The production
will interest lovers of problem stories.
One ol the best mystery dramas
,'i the month is The I ><<•>/ To
Fay, with its unique plot and abun-
dance of action. It is the story of a
leading politician and banker of a small
city who sends an innocent man to
the gallows tor a crime of which he
himself is guilty. After the execu-
tion, the victim is resuscitated by a
physician, and then, like a ghost, lu-
ll,units Ins betrayer, until at last
in desperation, the banker takes his
ow n hie. The feat ure is « di pro
iliui'il and photographed, and has
an all-star cast which includes Roy
Stewart and Robert McKim in the
two principal roles, Fritzi Brunette,
Ceorge Fisher, Evelyn Selbie, and
Richard Lapan. Joseph J. Dowling,
best known for his " Patriarch " in
The Minnie Man. has the role of the
man who is hanged and afterwards
brought to life. Fritzi Brunette, who
plays heroine, has played in most of
Jack Warren Kerrigan's later pictures.
The photography in this film is ex-
ceptionally good, especially- in the
night scenes, and won a gold medal
from the Nation, il Cinematographic
Society "I America
' I "here are many good points a
J Appearances, the first I- an
about
[ppearanccs, the first Famous*
l.askv British production directed
by Donald Crisp. The plot, which
concerns the dire results of living
beyond ones means with the mis-
taken idea of keeping up appearances,
is well developed, the cast is good and
well selected, and the exteriors care-
lullv chosen. Some of the interior
sets, too, are magnificent, and especial
care has been taken with the costumes.
A well-staged motor accident and
some clever double exposure work
are other noticeable features ; the
photography and lighting are good
all the way through Donald Crisp,
v\ ho has been associated with motion
pictures since earlv Biograph days,
directed his first film for that com-
pany This was The Idiot; he has'
since acted in and directed hosts of
features, and is now definitely settled
this side.
Dorothy lane is featured in Blood
l. a British made melo-
dramatic detective feature, which will,
however, be only moderately- enjoyable
lo pieturegoers, because the story
1
J
JUNE 1922
THE- PI CTU R. E-G O E- P
KALI TERN FOAM
V A M I ti l-l I M G C I* IE /\ Ivl
writes from Egypt
"As I am iio-ui1 picture-making in the East,
it is singularly appropriate- that I should testify
to the excellence of E ASTERS' FOAM. The
Oriental fragrance of this charming vanishing
cream is distinctly pleasing in its effects, and I hare
much pleasure in recommending it to the public."
s/7/
The Charm of a
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To ensure a charming beautv
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Vanishing Cream. By its use
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menthol. It vanishes im-
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except its fascinating and
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' Eastern Foam ' is ideal for the Sports
an i Holidaj Girl, protecting th<
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FREE DAINTY
BEAUTY BOX IS
Daintv tittle aluminium boxe^ of ' E
Foam —for the ig—
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(I'cpt . < . ! , < Iraham Street, Li ndon, V i .
'EASTERN rOAM- Is sold in large pots
(Price 1/4) by all Chemists and Stores.
56
THE- PICTUREGOE-R
JUNE 1922
Raymond Halton enjoys a manicure
fails to convince at all its important
stages. It has no climax, and no love
interest, and also insufficient brisk
action to compensate for their absence.
Dorothy Fane acts well as the adven-
turess, and Colette BretteJ is a con-
vincing ingenue, the rest of the cast
being adequate. Photography is fairly
good, and one river scene is beautifully
taken.
]
,.th Roberts, whose last appear-
ance this side was in l.asca, has
a colourful romance of the South Sea
Islands in The Adorable Savage, which
tells of a pretty schoolgirl who dis-
covers that she is half Fijian, and who
decides to revert to type and marry
a ruin of the islands. But an Ameri-
can loves her, and after some exciting
adventures, and a hand-to-hand light,
wins her. The production is so well
done technically that it redeems an
»>ft visualised story, for the tropical
scenes are enchanting, and are very
well photographed. Occasional tinted
effects give additional value. Edith
Roberts, as the dark haired, dark-
skinned Marama," plays with great
charm and spirit, though her dancing is
not half as good as her acting. Edith
is still ver\ young in years, though she
has had extensive experience, for she
was in vaudeville when she was only
six, and in motion pictures at the
in.it ure age of fourteen. She ap-
peared in many Lyons and Moran
comedies at Lnivcrsal Studios, where
she later starred.
Another Hawaiian story is to be
>een in Doraldini's current re-
lease. Passion I rttil. which is a tropical
story in a tropic al setting Love, hate
incl conflict m ihe languorous South
" bctiveen sets."
S^as provide a picturesque background
for the well-known dancer. She plays
an Hawaiian beauty, whose father has
been poisoned by a wicked overseer,
who hopes to win both his employer's
plantation and his daughter for himself.
Native ceremonies and dances are
shown, although some of those per-
formed by the star herself are neither
very Hawaiian nor very convincing,
The best work is clone bv Florence
Turner, in the secondary but effec-
tive rble of " Nuana." Stuart Holmes
is the villain, and Edward Earlc (the
O. Henry man) a stalwart hero. The
plot is very deep and devious, and the
general atmosphere will remind you of
The Bird of Paradise, ukulele-playing
natives and all complete.
According to Hoylc, a city man
l should be ignorant of all matters
appertaining to farms. Therefore, when
a wealthy townsman has to take to
chicken - farming under the terms of
his uncle's will, one expects much fun.
Rut in Chickens, which stars Douglas
Maclean, the funny moments are few
and far between. One there is when
the hero has a nightmare in which
huge roosters and other species of
barndoor folk assume most gigantic
proportions and threaten revenge
Douglas Maclean's methods are not
broad enough for this style of comedy ;
he is pleasant enough, but the film is
far too long and introduces main
In-whiskered stunts and gags. Gladys
George, later to be seen in some of
Thomas Meighan s pictures, plays the'
heroine, a girl who owns some pri/.e
chickens which " Stanwood " (Douglas
Mad. can! is suspected of poisoning,
and Claire McDowell contributes a
good i hai'. ic lei studv. Only the fau-
ltiest of Macl. can's tans will be satisfied
with Douglas this time; the rest will
want to write and tell him not to do
it again.
HPhe story of The Big Punch is very
X poor indeed, for it lacks realism,
depth and sincerity. Charles 'erst-
while Buck) Jones appears as a
minister almost surrounded bv sob-
stull There is a little action towards
the finish, but the feature is altogether
too goody-goody Reform and re-
generation, skilfully handled, is the
strongest of all themes, but only a
very unsophisticated audience can
like it in the fashion presented by
this film. Everybody and everything
is painfully obvious, and Jones him-
self docs not impress as a self-sacrific-
ing sufferer . also he does not look nor
dress like a wandering preacher.
Jennie I.ee. who plays the mother,
does the best work so far as acting
is concerned Barbara Bedford makes
a pretty heroine. Photography is
good, and some rainstorm scenes are
skilfully done. The stunts, too, are
well carried out, particularly the
escape from prison.
Screen-lovers who liked The Call
oj the Road will be sure to like
Corinthian Jack, which stars the
actor athlete. Victor Mcf.aglen. This
is another early nineteenth - century
romance, m ' which love, adventure
and prize-fighting abound. Every-
thing is clone (very prettily done, too)
according to the best conventions of
the costume novel Victor Mcf.aglen
looks well, and acts very convincingly
as the happy-go-lucky son of a country
squire, and his fighting powers are
well put to the test when he tackles
a gigantic negro and defeats him.
Dorothy Fane and Kathleen Vaughan
appear in the leading feminine roles.
Two good British releases of the
month are The Penniless Million-
aire, which is a murder melodrama
starring Stewart Rome, and Shirley,
an Ideal film version of Charlotte
Bronte's famous novel. The first
has many scenes taken in the heart
of London, when, naturally, large
crowds assembled, eager for a glimpse
of Stewart Rome, and had to be some-
what unceremoniously banished be-
yond the eye of the camera Shirley
has made a good film, with the acting
of ('live Brook as its outstanding
feature. The atmosphere of the
period, too, is successfully reproduced,
and the dramatic values of the- story
of industrial squabbles and sentimental
self-sacrifice have been used in a
fashion that extracts every ounce of
value from them Main- views arc-
shown of the Yorkshire and Lanca-
shire moors, and Oakwell Hall, the
original " Fieldhead " of the novel,
figures prominently in the film Ha-
worth Moors, loo, ma\ be seen, and
the garden scenes were taken at
High Hall. Sleetoii , , „,,.,. Ul.j ,. ,,, >
JUNE 1922
THE PICTUREGOE-R
57
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Our pupils arc now doing so.
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drawings are appearing regularly
' Vogue.' and several other English, Qjacfcs> £0^
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THE PRINCIPAL. STUDIO III.
THE ASSOCIATED FASHION ARTISTS,
It, NEW COURT, LINCOLN'S INN, W.C.2.
58
THE PICTUREGOE-R
JUNE 1922
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Douglas Fairbanks in a scene from his current release, " The Xut."
The players in Shirley spent a
fortnight on location, greatly to
the edification of the neighbourhood.
They visited various localities before
they finally decided upon Wycollar
Dene (which spot is familiar to all
reatlers of Hallwell Sutclifie) for the
attack on the mill scenes. Here,
accordingly, were staged stirring en-
counters wherein men in charge of
machinery wagons were attacked
and left, bound and gagged, by the
roadside. The destruction of the
machinery then took place, followed
in interested awe by large crowds of
onlookers. During the rehearsal of
one of these scenes, the horses drawing
one of the two wagons took fright
and bolted. Right across the moors
they galloped madly, sending a couple
of actors struggling near - by into
a ditch, and heading straight for a
dangerous ravine. The driver was
thing out, and fell just clear of his
steeds : they pulled up in time to
save themselves from pitching down
the ravine. The onlookers, who
thought it all according to plan,
cheered, but the principal actors did
not appreciate such applause.
I'Miis month is rich in open-air
stories, one of the very best of
these being The Girl from Outside, a
Rex Beach adaptation. The girl,
played by Clara llorton, arrives alone
and unprotected in Alaska, in a town
whose inhabitants are only half-
civilised and in the throes of the great
gold rush. A band of crooks befriend
her, and one of them, " The Curly
Kid " (Cullen Landis), falls in love
with her, and later gives up his life
to secure her happiness. The photo-
play as a whole is an excellent example
of screen art, for it has pathos and
tragedy, relieved by comedy which
never becomes foolish, and splendid
characterisation. The sub titles are
effective and witty at times, and tin-
restraint exercised by the producer is
noticeable, especially in the tragic
scenes. Clara Horton, usually seen in
light comedies or comedy-dramas, is
serious the whole time in this film, and
makes her role convincingly charming.
Cullen Landis is excellent, too, as the
crook " whose hair was the straightest
thing about him." Landis is one of
the best - liked amongst the new
stars.
1"*om Mix and a motor are just as
good pals as Tom Mix and a
horse, as picturegoers who see The
Road Demon will agree. This contains
two thrilling motor races ; in one of
these the hero drives his car cross-
country instead of along the main road,
thus gaining twelve miles, and, later
on, a wife. The introduction of slap-
stick, skilful though it is, may dis-
please captious fans as being some-
what primitive, but it is quite in-
genious of its kind. Photography is
good, the acting quite natural, and
Tom Mix's admirers will be pleased
with their idol this time. Tom Mix
and Victoria Ford are now the proud
parents of a small daughter, Miss
Thomasina Mix, who will one day
doubtless be seen in her father's
films.
Ruth Roland's' serials are always
well up to standard, and Tkt
Avenging Arrow, now due for rcleas<
is well staged, well seasoned with
thrills, and played by Ruth herself
with all her usual dash and fire
Serials are more or less of the sane
pattern, but so long as there is plenty
of adventure and incident, serial fans
will not mind improbabilities, nor care
greatly if there is no message or moral
attached. The Avenging Arrou
founded on a story called "The
Honeymoon Quest,'' by Arthur Pres
ton Hankins. Sensation lovers wio
delight in this serial.
JUNE 1922
THE PICTUI5E1-GO&R
59
60
THE- PI CTU RE-GOE-R
JUNE 1922
AN INNOCENT IN MOVIELAND.
\Cutitiuited '/■"'! Pttgt /<V.)
Mi Browne," came the voice of
Mr Cooper, conic and meet Mr.
Douglas, moneylender and miser."
At lirsi this seemed to me a some-
what ungraceful method of referring
to one who doubtless did his best lor
himself according to his lights ; then it
filtered through to my understanding
that Mr. Cooper's breezy resume of
Mr. Douglas's activities referred only
to my story and not to Mr. Douglas's
private life; and habits. I hastened to
meet Mr. Douglas, and contrived to
shake him by the hand. I was anxious
to do this, because it is not every man
who can sav that he has shaken hands
with one of his own characters.
"Mr. Douglas," said Mr. Cooper
brightly, " you are to be murdered
very shortly."
" Is that so ? " said Mr. Douglas,
unmoved. ' That's the second time
this week. I've died quite a lot lately-
Last month it was heart disease. I
had to die live times before we got
it right."
I looked at him with increased
respect. A man who can die five times
from heart disease and look forward
with equanimity to his own murder
seemed to possess certain attributes
which are allowed, as a rule, only to the
common or garden cat. I endeavoured
to shake his morale.
" You'll be murdered with a paper-
weight," 1 said ghoulishly
' That's good." said Mr. Douglas.
" I'm glad it's not knives. It's easy
enough to wash your face, but it's the
devil when it gets on your clothes.
That's why I like heart disease."
I gave him up. A man who likes
heart disease because it doesn't make
a mess of your clothes is no ordinary
being.
" And here,' said Mr. Cooper, " is
Mr. Folker, the murderer
I greeted Mr. Folker with reserve.
It is a little embarrassing to meet a
man who in a few minutes is due to
commit a murder. 1 felt rather guilty
about it, because Mr. Folker did not
look the sort of man who would commit
a murder unless I had forced him to
it. I felt very near tears as I watched
the murderer chatting affably with his
victim. What, I wondered, was he
saying ? Some few words of regret,
perhaps, that such a thing must be ?
An assurance that the murder would
be as gentle as possible ? I strained
an ear.
It's a good thing you've got a bald
head," Mr. Folker was saying. " It
always show's up so much better."
Callous ! Callous !
Want to see the rat ? " said Mr.
Cooper.
1 did want to see the rat. I should,
perhaps, explain first, however, that
a rat plays a very prominent part in
my story. In fact, the chief part. No
rat, no story. I remember that 1
thought it a very neat idea when 1
wrote it."
" Is it a real rat ? " I asked.
"Of course it's a real rat," said
Mr I no[)cr. " We've got two, in tact,
in case one of them catches cold or
dies."
I hoped neither of them would die.
I had quite enough on my conscience
already, what with the murder of Mr.
Douglas and the inevitable hanging of
Mr, Folker, without being responsible
for the death of a rat.
They were very nice rats. White
all over, except their eyes, which for
some reason which I have never
understood were bright pink. A
charming couple. Mr. Cooper lifted
one of them by the scruff of the neck
and deposited it upon the money-
lender's desk.
" Now, Mr. Douglas," he said, " we'll
just run through the first few scenes.
Remember, you're a soulless, heartless
old man — mean, hard, living only for
money. Very fond of your white rat,
but fond of nothing else but money.
Your favourite hobby is selling people's
homes over their heads."
Mr. Douglas received this symposium
of his character without flinching, and
took a seat at his desk. He then
staggered me by altering his face. Up
to then it had been quite a nice face,
a face that 1 should have liked to have
myself. He now, with no visible
effort, altered it into the kind of face
I wouldn't touch with a six-foot pole.
A miser's face ; a hard, grasping,
mercenary face ; the face of a man
whose favourite hobby is selling
people's homes over their heads. It
was marvellous, and stirred me to
applause.
" Bravo ! " I said, clapping.
" Quiet, please," said Mr. Cooper.
I was quiet.
For the following half-hour I re-
mained quiet, watching my story grow
to life before my eyes. It was an
uncanny sensation, because it grew
just as I imagined it should. One
reads a great deal about authors who
gibber and froth at the mouth because
of the manner in which their works
suffer at the hands of film producers,
but nothing like that happened to
me. I did not froth once ; I uttered
no single gibber. It seemed to me
that this was just right. Possibly
this w.is because I am not a real
author, but only one who makes un-
pleasant marks with a pen upon
unoffending pieces of paper, and am
therefore less prone to gibber
But I don't believe that even .
Bernard Shaw could have gibbered
here.
Suddenly there appeared at my
side the murderer. He gave me what
is colloquially known as " quite a
turn,' because his face was now a
peculiar yellowish colour. Was this,
I wondered, remorse ? Was conscience
already getting down to the job ?
It transpired, however, that such was
not the case. The bilious tinge was
due, not to remonstrance trom the
soul, but to make-up,
"We can't take anything yet,"
said the murderer, " because we're
photographing breath. The place will
warm up soon."
This, of course, was pure, unadul-
terated Greek to me. As far as I was
aware, no one had asked him to take
anything. Perhaps 1 ought to have
done so, but 1 had already had a
quick one before entering the studio,
to keep my courage- up. And then,
what was this about photographing
breath ? It sounded like an attempt
to out-Conan Doyle's spirit fairy
photographs. But there were no
fairies in my story when last I heard
of it. I pressed for explanations.
The murderer was very gentle with
me.
"In the mornings," he said, this
place is cold at first, and so people's
breath shows up. It would show up
ten times worse on the film, so we
have to wait till it gets warm. Come
with me, and I'll show you."
He led me upstairs into a room
hung entirely with strips of film, took
a small piece of film from a box and
showed me. I saw a girl's head with
what appeared to be a couple of
horns emerging from her nose.
" Breath," said the murderer. He
led me away again.
Downstairs I looked at my watch
and found that Time, as is its custom,
had been occupied in flying. It was
time for me to go. 1 approached Mr.
Cooper, who was experimenting with
the face of Mr. Douglas, and expressed
my regret at having to tear myself
away- Mr. Cooper was very nice about
it, but I do not doubt that inwardly
he sighed with relief " Now," very
likely he said to himself. " we can
really do some work '
To me, however, he said —
" Must you go ? Come down again.
won't you, and give us your advice? "
So perhaps 1 wronged him after
all. No man who really knows
me for what I am ever asks for my
advice.
I shook hands with Mr. Douglas,
promising to send flowers, and with
Mr. Folker, promising to turn up at
the Old Bailey. The Editor of " Pic-
turegoer," who all this time had been
sitting quietly in a corner, wearing
the expression of a man who has
seen all this sort of thing before,
remembered that he had to edit a
paper, and rose also. And so we
took our leave.
As we emerged into the clear, bright
air of uncharted Clapham, I felt as if
I had just returned from some other
planet. I felt so burdened with
guilty knowledge that it was with the
utmost difficulty that the Editor of
" Picturegoer " restrained me from in-
forming the 'bus-conductor that I had
but a moment ago been chatting with
a potential murderer and his intended
victim. Even if I had done so, I
doubt if the bus-conductor would
have believed me.
JUNE 1922
THE- PICTUR&GOE-R
61
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JUNE 1922
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which is I he only paper issued
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HONEST HUTCH.
, *iu£a ,' rom 1 '.'X'' /*'■)
" Nevei see me snivellin' now,
what " smiled Ylarj
And Ort had to agree that he didn't
And come t<. think of it, things
were different Hutch was nunc than
prosperous he was very nearly happy
Very nearly If it hadn't been fur the
confounded work. . .
N' e\t morning came a surprise.
Ort was visiting the bank when
a strange sheriff's officer came into
the saloon with news for them all
Them robberies in Orktown durin'
the spring," he said. " We been on
the track of the robber all these
months, an' now we've tracked him
somewhere down by here
Ort fought the sudden faintness,
and caught a grip of himself.
" Mebbe he's spent all the money
by now,'' he said innocently.
" Xaw ! " said the officer. ' 'Cause
there's not a bank in the whole States
ain't got the numbers o' them notes."
He slapped drl's shoulder in a
playful manner that made him wince.
P'raps if some innocent feller
found 'em," suggested Hutch, " not
know in' anything about the rob-
bery
'Cessory after the fact. We'd
«et .!))/."
Ort turned away with a hea\\
heart, and strolled dully in the direc-
tion of the gipsy's Imi .
So this was what it had come to!
He had reckoned on settling in Willow
Bend and showing the know alls a
thing or two. Where he'd always
lived he'd planned to keep on living,
and, when his tune came, to die.
And now this !
Well. . . He squared his shoulders.
There was nothing else for it. He
could not turn back now, with all
those wasted, work-tilled months to
mock his remaining years. On he
must go. Mexico! Rummy country.
He might not like it. \'o other way,
though. He'd just got to like it.
He came to the hut and saw the
foreigner.
" I've bought this laud, and I want
to buy your permeesh."
" Ah ? "
" Goin' to build a little place of my
own. Say what you'll take to hop it."
The foreigner thought it over.
' Two hundred dollars. I have the
permeesh
In the afternoon another shaft
pierced Ort to the heart. A deputa-
tion of Willow Benders came up from
the town to invite him to stand for
the Legislature,
Ort felt, all creepy under his skin.
With difficulty he made reply.
" Mighty honoured, boys. Might)
honoured. Fact o' the matter is, 1
put in so much work this fall, I
feelin' the strain of it some. now. 1
been planum' a little holiday for tin
family an' myself, an' p'raps we might
be away election time. . . ."
" No thin' about that, Ort, nolhm'
,il all We'll get yon elected all right
without you bem' here An' then
when you gets back you'll be our
full blow n member without any trouble
to yerself .it all. Leave it to us, Ort."
When they were gone. Ort was
more miserable than ever. To be
their member, and to have to to
have to. . . .
But there wasn't anything else for
it. It just had to be-
So he reached for his hat and went
down to the river bank and wondered
how the climate in Mexico would
suit him The hut was dismantled and
the gipsy gone. A tew floor planks lay
about. He kicked them aside and
stooped over the dead stump of his
money bush.
Nothin' else for it," he sighed.
He looked around and found himself
unwatched. Then he scooped out the
soil with his hands and took up the
canvas sack and the cash-box. Casting
the sack aside, he opened the cash-
box and. . . .
And took out the note ....
And read it ....
" Hear Bo.— I seen you dig it up
and bury it. Thanks for keepin' it
safe Better luck next time. Yours,
The Bank Robber
Ort staggered to his feet, the earth
swimming round before him. When
next he knew anything, a doctor's
voice was in his ear, and his weeping
wife was by his side.
" Well, yes, 1 must say," the
doctor was saying, " he does look
like lie's dying. But I can't find
anything the matter with him. Give
him this medicine and I'll cull in to-
morrow
And after another darkness, a com-
mand that he should take his medicine
was mixed up with the voice of
Hiram Joy.
You were a smart man, Ort. and
I'm sorry to see you clown like this.
A smart man
" Eh ? " said Ort.
Gettin' that land of old Gunnison's
on the river bank for an old song.
You were always cute. Cuter than I
thought, though."
" Oh, that," said Ort, turning away.
" I thought there was money in that."
Ha ! Ha ! And there's oidy oil,
eh ? Very cute ! "
( )rt sat up.
" Oil ? "
"Oh, yes. Kid you never knew.
Why, man, you're worth I clout
know , the experts haven't finished
yet -but thousands and thousands
and "
Ort sprang to his feet.
" Ort ! " cried his wife. " Your
medicine."
" Medicine nothin' ! " yelled Ort.
What 1 want's that holiday. Back
up the kids, old girl. Not Mexico it
ain't, neither. Europe! All out of
honesty an' hard work, this ! Nothin1
like honest) and hard work. Mary.
What did I always say ?
" 1 can't remember," smiled Mary.
Not wishing to hurt his feelings.
JUNE 1922
THE PICTUR&GOE-R
63
CROOKS, COMRDIRS AM) CHOPIN.
i •
yon prefer). Lights were focussed,
Walter pulled up Ins D'Artagnan bool
bops, the producer rehearsed, and then
the silence of the studio was broken l>v
a thunderstorm- earthquake-hurri
cane rolled into one. The buc< aneer
gentleman roared like a mad hull when
he caught one of the crooks (who proved
to be his accomplice) on 1 he head with
a valuable jar instead of Walter,
whilst he (Walter) smiled serenely
over the top of one of the doors, outed
the buccaneer with a lampshade, and
made his escape.
They (the buccaneer, with cloak
a-rlying, and the three crooks) chased
Walter for fully fifty feet of film,
then Walter rescued the heroine in Iter
harem dress — and the scene was
finished. It had been a breathless
ten minutes. Lights were switched
ofl, the producer sorted out the artistes
he recpiired for the next scene, and
the scene-shifters got to work.
Meanwhile the crooks, Walter and
the buccaneer (1 moved carefully out
of his way as he approached) took
breath and repaired their damaged
make-up.
After a few moments' hammering,
there suddenly stole across the studio
from an adjoining set, strains of sweet
music a piano being played not
onlv well, but with feeling. I left the
set to look after itself, and made mv
wav to the piano. Imagine my sur-
prise when I discovered a very beau
tiful Spanish lady (in a ravishing
mantilla, and with eyelashes that
surely came out of a make-up box),
perched atop the piano, meanwhile she
hummed the tune played by the pian-
iste— Pauline Peters can sing ! Rut
life always has a further surprise in
store, and I had two handed to me
in quick succession. Scarcely had I
recovered from the fact that Pol lie
was playing comedy, than I discovered
that the talented pianiste was one
of the crooks ! Then I realised I
had seen him in the wrong light -I
isaw through his make up, and he
almost sprouted wings whilst T watched.
Put back to Pollie.
What are you doing here ? " 1
queried, knowing that she has recently
played several highly dramatic parts.
Singing," came the quick reply,
whilst the scene is being made
•early for me to smash more plates
I pet ween us we smashed five hundred
md eight v nine to claw"
"Hut you in comedy ? " r gasped.
Well it was like this," she ex-
plained, " Walter and I were at a
dinner part\- last, weejc, and he heard
me say I could not be funny no matter
how hard I tried."
"'I bet you'd be funny if you pi. lyed
in one of my films,' he challenged.
" 'That reminds me. I've got a line
comedy vamp in mv next Walter's
Trying Frolii s.'
But I don't vamp," 1 replied.
" ' 1 bet you ten pounds you
could vamp, and you could be funny
if you tried.' " So the deal was
closed.
" So here I am, and here's what I
bought with some of the ten pounds
which Walter paid up after he had
seen the first shots in the film," and
she showed me a little silver stiletto
which she has now adopted is a
mascot.
" But whatever you do." added
Pollie, "don't tell anyone I'm being
funny, else they'll think 1 can't be
anything else !
" Pollie ! " shouted Walter from
the set we had just left, " we're
ready."
I watched Pollie walk arm-in-arm
with Walter on to the set, and then
five minutes later she was threatening
his life, and they looked at each other
(they were man and wife in the film)
as if they had discovered the finest and
biggest hate with a capital " H " in
the world. I'm glad"! know Pollie
or I might not have liked her ever
again. She treats her film husbands
abominably. She was still ill treating
him — backed up by those villainous-
looking crooks when I left. Outside
the studio all was dark, and a cold
wind was blowing. There was not a
taxi in sight, and I made sure 1 saw a
knife flash from between some bushes,
so I took to my heels and ran all up
a long hill that leads to the 'bus
terminus, from the studio. Breath-
less, I stumbled into a 'bus -and the
conductor, who evidently thought 1
had run to catch the vehicle, shouted
at me : " Orl right no ttrry ; she
don't go for live minutes." Then
confidentially
" 'Aven't ver ever 'card that old
motto ' Never run after a 'bus or
a man there'll be another along in
a minute ' ? " I was too breathless
to answer
nnTTnDTilDC
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64
T H H DRESSER.
'ittued ftotn /'
resort. The producer had taken
Ins company to this resort to photo-
graph some scenes in, on, and round
about the sea. Miss Star, as I lie
heroine, had to adopt (in some of the
scenes) a disguise which consisted ol a
black curly wig and dark-hued skin
All the people who were staying at
the hotel got used to the sight of Miss
Star as the olive-skinned, dark-haired
beauty who daily went down to the
shore and gazed sadly out over the
waves (vide scenario). But one par-
ticular morning, as we descended the
main st, urease at the hotel and
reached the entrance hall, a strange,
foreign-looking old gentleman jumped
up from one of the lounges and came
forward with outstretched hands and
a glad smile on his wrinkled old face.
" I cannot rightly interpret the
jumbled ejaculations he gave as he
impulsively grasped Miss Star's hands,
hut we all gathered that he was loudly
and excitedly thanking ' ze good
God for it ces my daughtaare . . ! '
It took the combined elocutionary
efforts of the producer, the leading
man, Miss Star, and the hotel manager
to convince the poor old man that he
had made an error. And ' I do not
think he would have believed then
had not Miss Star removed the black-
wig and revealed a head of glorious
golden curls tightly screwed up under
it. The old gentleman was then elo-
quent in his apologies, but would not
let any of us depart until lie had pro-
duced a photograph from his pocket-
book and showed it all round. It was
a portrait of a beautiful girl who really
did, in every feature and physical
characteristic, so resemble Miss Star
in her disguise, that we all realised
how easily the old man had made the
mistake. It was several hours before
I could dispel the mental vision of
that wrinkled old face, saddened arid
drawn, as its owner had realised that
his dream of finding a lost ' daugh-
taare ' had not really come true.
" Of all the qualifications that one
must possess to become a. professional
dresser,' that of being a, good needle-
woman is paramount. In my years of
service with Miss Star, J have been
called on, often at ridiculously short
notice, to make up a particular kind
THE- PICTU R&GOE-R
of ' character ' frock, and in this
respect I can prove my adaptability
by relating another true incident.
When we go on location we
generally travel by road, because a
producer, bound for a certain corner
of England, may en route come upon
a beautiful and tempting location
which he did not previously know
existed, and so he is able- to make a
halt and photograph scenes.
"On one occasion, when Miss Star
was playing the leading role in a
costume play, the principals (including
the 'dresser') travelled by road, but
the costumes were sent on by rail,
because of their bulky nature. And it
happened that we found on arrival at
our destination that these costumes
had not arrived, and although we
wasted a whole twenty-four hours of
valuable time (and several of sun-
shine), they still failed to appear.
Frantic appeals to the railway officials
brought forth no result. We were
compelled to believe in the possibility
of the tragedy suggested by a gloom v
station-master. They had probably
gone astray, and might not arrive for
a week !
After a hurried consultation, the
producer .decided that it was only
absolutely essential to photograph one
particular scene on this location— and
Miss Star, was the only artist who
appeared in it. But she had no cos-
tume ! It was here that my genius
stepped in and s.aved the situation !
Fortunately, we had carried a
packet of ' still ' pictures with us,
taken while other scenes in this par-
ticular film had been photographed,
and with the aid of one of these, in
which Miss Star figured, I managed to
concoct, out of silks and satins pur-
chased at the local draper's, a replica,
of the costume she should have worn,
and no one (save those who were
concerned in the incident) ever knew
that this frock was a ' fraud.'
I well remember this incident be-
cause a very line gold pendant which
I possess testilies to the appreciation
and gratitude of Miss Star, who
presented it to me immediately we
returned to tow n.
" It's hard work and long, this
serving of the film star, but it is all
worth while, for I have no time to get
bored, and every opportunity to see
the world and its ways.
JUNE 1922
GET OUT OF DOORS.
about in a most alarming fashion.
The inevitable eventually happened
when one lady, whilst climbing over
a stile, slipped" and blazed oft her gun
a few inches from the fair head of a
particularly pretty little film artiste
who had been persuaded to join the
party.
We all ran up in alarm, anticipating
that something dreadful had happened.
The film artiste with the fair curls
was gazing pathetically towards us.
with her pretty complexion blackened
with smoke and powder until she pre-
sented an almost negro-like appear-
ance.
Does my nose want powdering ? "
she said in a beseeching voice, and then,
because we were all so relieved that
she was not really hurt, and also
because our fair companion looked so
droll standing there asking if her nose
recpiired the attentions of the powder-
putt when her whole face was ap-
proaching the shade of ebony, everyone
roared with laughter.
But it was the last occasion on
which I went shooting with amateur
sportswomen.
To get high into the hills and camp
under the fascinating light of the
moon, to fill one's lungs with the clear,
invigorating air of the mountains un-
tainted by civilisation, is one of my
happiest experiences. Boating, fishing,
and hunting can all be enjoyed amidst
glorious settings of Nature such as j
these.
When I retire for good from the
hissing arc lamps and the clicking
cameras of the studios, I think I shall
form a propagation society for the
encouragement of modern Dianas.
But one thing I shall suggest is that
the twentieth century sportswoman
displays a more practical choice in her
habiliments than the Diana of legend.
How this unfortunate lady, with her
scanty clothes, escaped the thorns and
briars during her rambles in the
Arcadian mountains has always been
a source of wonder to me.
Gel out of doors. That is my recipe
for beauty. If you shrink from donning
the primitive tweeds and heavy boots
that the countryside demands, solace
your vanity with the thought that the
fresh air will bring yon sparkling eyes,
the tint of health in your cheeks, and
a graceful figure. Believe me, Diana
knew a thing or two when she fostered
her charms in the domain of Nature.
For thus she obtained her beauty that
changed the- course of historical legend
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L
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— *
JUNE 1922
THE PICTUREGOE-f?
65
n
Here's to the maiden of bashful fifteen
//
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This grand old tawny Port will give exquisite pleasure to your palate and huild up and
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66
THE- PICTUR&GO&R
JUNE 1922
" V[0\V thai the
i ^ warm weather
is upon us, I suppose
pirturegoers must
When the Weather's
Warm.
be prepared to wit-
ness second-class pro-
grammes at nine kine-
mas out of ten,"
writes E. D. {Chelms-
ford). " Why is it
that there is such a
falling off of good
films during the sum
mer months ? 1 know
that picture-theatre
attendances are smal-
ler during the warm
weather, but surely
it would pay kinema
proprietors to try to
lure the public into
I heir halls by giving
them the best of fare !
Can von wonder that
people prefer cricket ,
tennis, boating and
open-air pastimes to
poor pictures 5
T^HE Beauty Xum-
*■ ber of the
PICTUREGOER
has brought me mort
of warning, which I
hasten to sound.
There is more unem-
ployment amongst
kinema players at the
present time than at
any period in the his-
tory of movie-making.
Production in this
country is at a very
low ebb, and even
artistes of established
reputation find it ex-
tremely difficult to
obtain remunerative
employment. Leave
the screen alone if
you want to make a
living.]
" T WAS horrified
■*■ to find no
mention of Pauline
Frederick in this
We Forgot
Pauline !
I
fd L
7fafo7d Lloyd & MildA
WHAT DO
YOU THINK?
.Your Views &Ours,
month's
GOER.
beautiful
like to
is. I
' Polly '
a w a y
beautiful
screen."
' PICTURE-
If she isn't
, I should
know who
think that
is far and
the most
star on the
Pauline's
About correspondence
Ourselves, than any previous
issue, and the
majority of the letters bestow lavish
praise on our May number. One or
two readers of the male sex complain
that the ladies had too big a show
in the Beauty Number, but this
was, of course, unavoidable. Male
movie stars are well represented in
the current issue, and they will not
be neglected in next month's " PIC-
rUREGOER," which will be a
special summer out-of-doors number.
Better order your copy in advance.
' T OBSERVE from the May issue
-I of ' PICTUREGOER,' that
fans are invited to write and state
whom they consider to be the most
handsome . movie
Told Off. male, and the most
beautiful feminine
star. Excuse me when I say that
I am surprised that a high-class
magazine like PICTUREGOER '
(and it i- a high-class magazine)
should run a ' contest ' of this
nature. Those who take a real
interest in the motion picture, who
have watched it progress since the
beginning, and who recognise the
movies as an art — and a great art
at that — are scarcely likely to be
concerned as to which star possesses
the most handsome face or the
most beautiful profile. Such a
contest will only interest those fans
who go to the pictures to see their
favourite star. As long as their
favourite is in the picture they
want to see they don't care an atom
what the picture is like. They
possess no artistic senses, they can-
not appreciate a well-constructed
continuity, a clever lighting effect,
or any of the many other things that
go to make a first-class film. It is
not beautiful features that count, but
the ability to act ! My vote is as
follows : Most beautiful actress, Gale
Henry. Handsomest actor, Ben
Turpin ! " R. E. B. {Palmers Green).
CAX you tell me the best way
for anyone to get on the
films in England, as there really
seems a shortage of English artiste--,
and yet it is so
Warning to hard to get to
the Screenstruck. know which is the
best way to start?"
— Radiance {Manchester).
The above letter calls for a note
Adorer [Cheltenham).
" In naming beautiful
film actresses, I am sorry you left out
Pauline Frederick's name. Here is a
good suggestion : Why not publish a
special Pauline Frederick number of
the ' PICTUREGOER,' and earn
the eternal gratitude of the largt
number of Frederick Fans?"
Pauline's Adorer {Gloucester.)
V
OTES on behalf of the hand-
somest actor and most beauti-
ful actress are pouring into these
offices, but it is early yet to forecast
what the result
Venus and
Adonis'
of the competi-
tion will be. At
present
Blvthe
Pickford
er i n e
Betty
, Mary
, Kath-
M a c-
Donald, Thomas
Meighan, Jack
Kerrigan, Wal-
lace Reid and
Ivor Novelloare
well in the run-
ning. What do
yoMthink? Address
" The Thinker,"
c.o. " PICTURE-
GOER." 93, Long
Acre, W.C.2.
,'LY \(0.2
THE- PICTUP&GO&R
a huge success !
Now for
No. 2
Out July 1 0
PHE instantaneous success of No. I of
1 the new " 20-STORY " Magazine ex-
ploded the old belief that it is necessary to
have big authors' names on the cover of a
magazine to make it a success. It was a
startling innovation, but the " 20-STORY '
is for people who know better than to
believe that a great author always writes
a good story.
If you are unable to get No. 1 of the
" 20 - STORY "— the finest fiction value
in the world—be sure and place your order
now for No. 2, out July 10.
Make sure of
!Nj). 2 by order-
ing to-day. On
Sale July 10
MAGAZINE
THE FINEST FICTION VALUE IN THE WORLD.
Monthly — One Shilling.
ODHAMS PRESS LTD., LONG ACRE, LONDON, W.C.J.
THE- PlCTUR9GOE-f5
JULY 1922
How to keep
cool this summer
Ji.
JULY NUMBER
Now ON SALE.
OUTYOUR< OPY
TO DAY.
ammocks and Awnings,"
Shade Umbrellas, \ " The
Roof Garden," " Ice Cream
and Freezers "— these are
a few of the cool-sounding
articles which will • catch
your eye on the contents
page of the July " IDEAL
HOME." This beautiful and
popular magazine for home-
lovers is, as usual, right to
the fore with timely sugges-
tions for keeping cool and
comfortable in the home
during the hot and trying
stmmier months. Get your
copy to-day.
IDEAL
HOME
The Monthly Magazine for Home-Lovers.
ONL SHILLING.
IxmotonMcul
The Witty Weekly.
THE cleverest thing in
black and white, both
in point of illustrations
and " snappy " stories.
To say nothing of page
after page of rollicking
hilarity.
On Sale every Saturday,
but a splendid tonic for
that " Monday Morning "
feeling.
EVERY SATURDAY 2d.
1922
THE- PI CTU REGOE-R
He can 't
help talking
but. when he talks his quaint savings
are well worth listening to. lie
exudes epigrams, buhbles over with
brilliance, scintillates with snappy
sayings, and leads laughter in
his train wherever he goes. Meet
GIGLAMPS
by Will Scott
in the July " PAN," and add
another character creation to your
list of literary immortals. This
tramp philosopher, this happy-
go-lucky Son of the Dust, will
command your respect from the
initial footshake — for, appropriately
enough, you meet him feet first.
There 's a murder mystery to
perplex you and an abundance of
comedy to amuse vou in the first
'« GIGLAMPS " story. Don't miss
it, or you will miss one of the
funniest stories of the year.
This story alone is worth the
shilling charged for " PAAr"
and there are /./ others of equal
excellence.
Don't Miss
the July
Number !
Watch that woman on the sea front this
summer who seems glued to her seat. She
is an expert judge of fiction ; she is com-
pletely absorbed in " PAN." She knows
better than to think that great authors
must necessarily always write great stories.
Watch her — she knows the best fiction
magazine to buy.
THE FICTION MAGAZINE
IS Stories for One Shilling
TM& PICTURE-GOE-R
JULY 1922
A Shilling
Pattern
Send for this useful
House Coat Pattern now.
PARISIAN dressmakers have made quite a
feature of these little coats, which in a
measure take the place of a rest-gown,
and of course are much more quickly made.
After a busy day of shopping or sports, what
could be more comfortable than to slip on
such a pretty loose little coat made in
patterned or plain cre'pe-de-Chine, voile or
georgette ? Or as a breakfast coat it would
be cool in soft cotton of some dainty
colour, and trimming of a darker shade of
same or a good contrast. Pattern is in
five pieces, the Magyar bodice, two pieces
basque, collar and sleeve trimming. Material
needed for cutting coat is z\ yards 40
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material and making the coat. Send to-day.
FYERYWOMANS
* / WFFKIY
Pattern No. 444.
>\
1
The Ideal Weekly for the Thinking Woman.
Every Monday— 2d.
45*
WEEKLY /, v
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Please write j>lainl\ .
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EVERYWOMAN'S"
93 and 94, Long Acre,
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' and packing of your Pattern No. 444
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Xa "if.
Address.
'ULY 1922
THE PICTUR&GO&I5
SIMPLE STORIES OF SUNLIGHT STREET
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children radiate Sunlight and happy mothers give them
Sunlight in return, using the purest and most efficient
of soaps to provide the comfort of ideal cleanliness, and
to ensure leisure moments for the children's play hour.
There are no houses "to let" in Sunlight Street, but you can put
your house in that happy thoroughfare to-day by providing Sunlight
for the children in return for the Sunlight they bring to you.
Clean, healthy surroundings are essential to happiness. Soap
purity is essential to ideal cleanliness, for without pure soap
you can't have perfect cleanliness. The guaranteed purity of
Sunlight Soap is fully appreciated in the homes of Sunlight Street.
Sunlight Street is the great Highway of Health —
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£1,000 GUARANTEE OF PURITY ON EVERY BAR.
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B 415— 34
LEVER BROTHERS LIMITED. PORT SUNLIGHT.
THE PICTUREGOE-R
JULY 1922
Dorothy Dickson
In
"Paying the Piper
Beautiful Colours
Read what Miss Dorothy Dickson
has to say about them. She writes :
"Drummer Dyes are beautiful enough for the most subtly
artistic woman and practical enough for the most efficient.
Each of their 26 shades I have tested has been absolutely
true to colour. Drummer Dyeing is simplicity itself ; boil
five minutes, steep twenty minutes, that's alt. And if you
use Drummer Dyes, boiling can't hart the sheerest silk.
On tour when one wants a particular shad* quickly and
there is little convenience, Drummer Dyes are a heaven-sent
blessing." M r\ %s
Do you
personally
know the
success of
Drummer
Dyeing ?
soi. M.nuf.ctur.r. , WM. EDGE & SONS, Ltd., Bolton
JULY 1922
VOL.4. N° 19. JULY 1922
Registered for Transmission
by Canadian Magazine post.
M
T
DouS
JULY BIRTHDAYS.
•
4
William Farnum
7
Raymond Hatton
14
- Ruby Miller
15
- - - Enid Bennett
IS
- - - - - Zoe Ray
24
Norah Swinburne
25
■ J. Warren Kerrigan
25
- • - - Lila Lee
26
■ - - Niles Welch
26
Kenneth Harlan
27
- - Marie Wale amp
30
- - Wanda Haw ley
kN Thursday, July 6, 1911, an English-
man joined the cast of that successful
musical comedy "The Pink Lady,
then playing at the New Amsterdam
Theatre, New York. He was cast for
the role of Maurice d Uzac, and
his musical voice pleased the critics.
To - day his mustcal voice doesn t worry
him much. As Crauford Kent he is known
to patrons of the silent drama wherever photo-
plays are shown.
0
Two Americans, destined to win
wide success as movie producers, have
to rememher July
rid-
reason
On that date in 1908, a
struggling scenario-writer, who had persuaded
the Biograph Company to give him a chance to
produce, completed a picture entitled I he
Adventures of Dolly "—the first D. W. Griffith film
ever made. And on July 8, 1916, a promising youngster
named Marshall Neilan left Chicago for California to
direct Tom Mix in a series of Western stories.
A popular turn at the Palace Theatre, London, on
July 9, 1900. was a comic monologist named Fred Niblo.
Nowadays Fred is too busily engaged directing Douglas
Fairbanks, and keeping house with his beautiful wite Find
Bennett, to deliver monologues at music-halls.
On July 13, 1907, a beautiful graduate from the musi-
cal comedy stage made her London debut as a dramatic
star. The play in which she appeared was entitled " Mrs.
Ponderbury s Past," and the playbills informed the public
that Charles Hawtrey would be supported by Billie
Burke in this production.
Some people hold that Friday is an unlucky day.
but Tom Mix doesn t agree. On Friday, July 16, seven
years ago, Tom was hard at work making Western pictures
for the Selig Company, and on that date a new leading
lady was engaged for his productions. 1 he name of
the new Selig player was Victoria Forde, and Tom
thought so highly of her as a leading lady that it
was not long before he asked her to play that
role for life.
On July 28, 1911, the cast of "The Virginians,
playing at the Harmanus Hall, New York, contained
two movie - stars - to - be. An unassuming young man
named Bert Lytell carried off chief acting honours,
and he was ably supported by a clever player who
figured as Mahlon Hamilton on the bill. Both actors
have fully justified the promise of their early career.
Ten years ag^o — on July 29. 1912, to be precise — a
very beautiful voung lady made her debut in a musical
piece at the printer Garden I heatre. New York. Her
name was Kathleen MacDonald.
12
Tony Moreno's
passions are too
honest to be hid- j^
den in sidelong
glances.
THE- PICTUREGO&Q
JULY 1922
Heroes
f3Ha
Below :
Eugene O'Brien
is a recognised
captivator of
feminine
hearts.
ave /v\ovi/n
HAZEL SHELLEY
This interesting article provides you with pen-pictures of
five of filmdom's most popular leading men. It is an
unusually frank answer to the oft-repeated question, " What
are they like off the screen? "
This is a story of personal impressions. In it I have
set down with utter candour my own individual
reactions to some of the great screen heroes.
They are not the same impressions I would have
had from seeing these heroes only on the screen.
They are different from the impressions that any
male writer might have had — for what can a mere
man know of the exhilarating effect of close-cropped
wavy hair, for example, on the feminine heart ?
And lastly, they are perhaps entirely different from the im-
pressions that these same heroes would make on you. My
only claim for them is that they are frank and sincere.
I was sixteen years of age when I met my first screen hero —
Eugene O'Brien. It is hard to explain the exquisite thrill,
closely allied to terror, that made my knees imitate a couple
of castanets when we were introduced. Any school-girl
will recognise the symptoms — a sort of " can this really be
I ? " feeling. At that time he was playing opposite Edna
Mayo in The Chaperon, for the old Essanay Company, and
even now, looking back upon the meeting, though fortified
with all the calmness of my present-day sophistication, I
must admit that Eugene was very good to look at. His
hair, with its bronze tints that caught the sunshine, waved
rather crisply close to his well-shaped head ; his eyes were
cerulean blue, with rather a dreamy expression, his profile
was as perfect as that of a classic Greek. And — lie had a
way with him ! Innately a gentleman, his manner seemed
to draw you into his exclusive circle, as much as to say,
" My dear, you and I are different from this ordinary rabble.
You will understand me."
Of course, this manner is inordinately flattering to women,
and they picture Eugene O'Brien as their perfect Lancelot
ready to do and dare for them as he does in pictures. Yet
Eugene was the first to shake my illusions about heroes.
Two years later I met him for the purposes of an interview.
He had become the idol of New York, but I must give him
credit, he was even more courteously charming than before.
He gave me his picture and autographed it, and treated me
to ripe red cherries from a black-la( quer bowl. In a glow of
enthusiasm I wrote what I considered a eulogy of the hero's
home and characteristics. Alas ! I mentioned something
about a delft-blue davenport, and described his English
accent. Offended is a mild term to apply to the O'Brien
state of mind when he read those descriptions. Somehow,
to me, he lost a little of his heroic aspect when 1 learned of
his anger.
However, Wallace Reid came to the rescue of my losl
illusions concerning heroes — not knowingly, of course, be-
cause Wallie would be the last person in the world to
acknowledge himself a hero. Yet he is the champion of
every woman everywhere. His heart is almost too bin and
too generous for his own good. Although he reached a
man's estate soihe time ago, he seems more like a happy-go-
lucky boy, and every girl or woman who knows him wants
to mother him. I don't believe he has ever wilfully hurt
anyone. His valet adores him, and what is it they say
no man can ever be a hero to his valet ? Well, Wallie is.
I feel that the screen recently has not done him justice.
j[. i ivaz.
<J i <. fcr vjj K.J tr- l<
IO
Only in Pt/cr Ibbetsun did I glimpse the actual possibilities
of the man properly given a chance. 1 believe that down
underneath, the ideals of Peter Tbbetson are the ideals of
Wallie Keid. Those who know him superficially will laugl
at this statement. Yet 1 repeat, at heart Wallie Reid is a
hopeless idealist, and 1, for one, feel that he is searching
perhaps darkly at times- -for some grail, and that if he ever
finds it we will see the real John Barrymore of the screen,
providing his managers have the judgment to make use of
his genius rather than his good looks.
I am sorry to have to say it, but I cannot enthuse over
the latest screen hero, Rudolph Valentino, whom they saj
and I have no doubt that it is true — is the most popular of
all screen heroes at present. I watched him when he was
making scenes for The Sheik. It seemed to me that his
self-satisfaction burst from him like quills from a porcupine.
I looked in vain for the slightest hint of idealism in his eyes,
No woman would try to mother him, I assure you. He
is too self-assured, too hard, too egotistical. Yet the
women are mad about him. Do they want a master ?
Well, I can well imagine Valentino mastering them. I
asked Lila Lee why all the girls were so crazy about Rudy.
Have you ever seen him dance ? " she queried. " He
dances divinely." Yet I imagine Valentino's fascination
is much greater than his mere ability to dance well.
Perhaps it is his Latin fire, but if fire could be
cold, I should say Rudy's was— calculating
It may be that I have not the right to judge V;
tino for I declined the. opportunity of meeting
him. His manner seemed to me too much that
of a grand mogul, and I do not enjoy salaaming.
I am prejudiced also concerning another
screen hero -but for rather than against ;
for while Tony Moreno is also blessed with
the fiery Latin temperament, he is of a far
warmer and more sincere calibre. I ad-
mire his tremendous, enthusiasms, his
honest hates, his loyal loves. I can imagine
him a Charlemagne fighting for a great
cause, but I cannot visualise him as a
wily modern diplomat earning honours by
a legion of lies or oily compliments.
His passions are too honest to be hidden
in sidelong glances. His eyes are round and
Startlingly, brilliantly brown - instead of being
narrow and veiled. When I first met Tony he
was hiding his handsome features behind Pearl
White's for the camera. " The ladies must
the close-ups— God bless 'em ! " he said
The last time I saw Moreno he was a Vitagrapl
" This story features everybody except me, " he con-
fided with a# rueful laugh.' Arid he spoke the truth.
He is diligent, capable of great things, and he never
indulges in any follies which might retard his career.
In private life Moreno is even more heroic than on
the screen. I know many people he has helped along
the rocky road of their hard times. He never forgets a
friend — never ! That's saying something for a screen
hero, but, most memorable of all, he can order a dinner
that would make Lucullus turn />ver in his grave with
jealousy.
Bert Lytell — now there's an American hero for you!
Talk about being a hero to his valet : Herts a hero to his
scene shifters, studio carpenters, his director, his leading
lady, even Ins press agent. Why 5 Because he is so
genuine. His primary desire, like that of every worth-
while actor, is to be successful in all his pictures, but
instead of climbing by stepping on his fellow-workmen.
he climbs by helping them along, too.
I ytel! is a hero whom we can all understand. There is
a thrill to his handshake, a gleam to his eyes that makes
every girl who knows him wish she were his leading lady
The first time I met Lytell he was beating a man at tennis,
the next time he was helping solve studio difficulties for
Bayard Veiller and Viola Dana. He ex en gives his own
wife a thrill by staging his Saturday-night parties in his
own home.
A hero, surelv I
Kudoff'lt
I ' iilrntlYlO
14
THE- PICTUR&GOE-R
JULY 1922
A play with such a title as
/\ The V alley of the Giants
i was bound to contain
A^| a fight, and with
I Wallace Reid, the
heroic blacksmith in
% ^ The Birth of a Nation,
%b to do the fighting, I
knew something fine was coming.
It was short, the actual en-
counter, but it was a thriller.
The husky foreman of the lumber-
jacks had just dropped a man with
one blow, and was in a battling mood
when Bryce Cardigan (Reid) attacked
him. This struggle is one of the most
natural 1 have ever seen in the films ; the
men fight each other and forget everything
Conway Tearlc has a thrilling fight in " The Referee."
else — or seem to ; and employ a mixture of tactics
characteristic of the impromptu bout. The manner in
which Reids lifts his opponent bodily, at the conclusion
of the fight, proves him remarkably strong, and his
suppleness is an outstanding feature of the struggle.
Another screen fight that every lover of realism will
appreciate is the one between Albert Roscoe and Lon
Chaney in An Eighth of An Inch to the Right. Chaney,
always an admirable villain, is particularly good when
he attacks the dance-hall girl (Alma Rubens) in the
eserted saloon. Often men handle women too tenderly in
>ur picture-combats, but Chaney is violent enough for anyone,
o some spectators it will seem that the girl holds out un-
naturally long against a man of such strength and ferocity as
the crazed gambler displays. But note that Miss Rubens
keeps him at straight-arm length most of the time ; limbs
already straight will bear far more weight than the muscles
controlling them could push into that position. Besides,
the girl's hand is pressing back the man's chin a
part of the time, and this is one of the
most punishing tricks known to
wrestlers.
Then the rescuer, Roscoe,
appears, and he and Chaney
roll on the floor in " deadly
combat." It is Chaney's
part to seek weapons : his
is a fight for life, and he
tries desperately to get
hold of a bottle. Roscoe
repeatedly foils these
attempts, at the same
time throwing in killing
right-and-left-hand wal-
lops. These men avoid
the common mistake of
making their struggle on
the floor a mere exhibi-
tion of clinching. Some
screen scraps, notably the
one in The Devil's Trail,
have too much acrobatic
Eugene u-orfc . when men clinch
O Brien c ,. ,, 4.
can give a ln a n8ht' they mean t0
good account pummel each other, not
of himself at do " brotherly acts " of
fisticuffs. tumbling.
IULY 1922
THE- PI CTU RE-GOE-R
15
Charles Buy has fought i ,;
several pictures. II, is
seen below at practise
with his trainer.
*>-*>
■
Life for Elmo Lincoln is just one fight <r'icy another.
The reel fighter must be a real fighter It is impossible sin
cessfully to fake a fight scene : a man must simply be " there
with the required strength and skill. Rehearsals are less pra<
ticable than for any other kind of acting ;
the pre-arranged fight is a failure on the
screen every time — the experienced eve can
tell it at a glance. It is possible, and, of
course, necessary, to pre-determine the
winner and his method of winning ; but
no director could control in detail the
progress of the fight. And if he did, such
a fight would not be worth seeing.
William Farnum and Tom Santschi
had but a bare outline for their never-
to-be-forgotten fight in The Spoilers,
and it looked a time or two as though
they would forget even that. But that
was some scrap ! Athletes, Bill and
Tom, 200-pounders in superb condition,
and not the least bit backward about
mussing up each other. Santschi's arm
was sore a good long time from that
hammer-lock, the cruellest hold in the
wrestling game, with which Farnum won
the fight, and the victor himself was a
mass of rags, blood and bruises.
And Farnum 's fight with Alphonze
Etheir, " Silver Jack," in Rough and
Ready, is another classic. How entirely
Farnumesque, when he rises after a
knock-down, and answers the jeers with,
" No, I have not had enough ! " And
how technically perfect his work as
i the cool, determined battler ! He
steadies his opponent with a right
and a left, slips in close and slugs to
the body till " Silver Jack's " guard
comes down, then, like a Hash, whips
over the punch to the jaw.
William S. Hart is a great fighter.
Though more at home with a brace
•of 45's, he can use his huge fists with
telling effect. Hart shines in the
long, gruelling contest ; his fight with
House Peters in Between Men is one
of the longest ever screened. It is
literally a finish-fight, for it ends
with Peters falling from exhaustion
into his opponent's arms. The long
fight gives an actor a chance to
depict gameness, and Hart is posi-
tively unexcelled at this. In The
Narrow Trail, " Big Bill " cleans up
a houseful of opponents. When one
man catches him by the coat-tail,
Hart cleverly skins out of the garment
and keeps right on "milling." He
finishes in blood and rags, but out-
fights and outgames Ins very last
antagonist. But the premier Westerner
is strictly a rough-and-tumble fighter,
[Cflftiinued on Page.
Left : Mahlon
Hamilton in
" Half a
When Bill Farnum
" sees red " the
fur flies.
THE- PlCTUR&GOE-r?
JULY 1922
TEN YE^iQS
L
DICKENSJ/ILMS
With his production oi " The Old Curiosity Shop,"
released this month, Thomas Bentley reaches the
tenth anniversary as an adapter to the screen of
Charles Dickens' immortal works. No other
film producer has approached his success in
catching the true spirit of Dickens.
It hardly seems so long ago
as that, but diaries cannot
lie (whatever Margot may
tell us), ami mine tells me
that 1 first introduced the
works of Charles Dickens to
the screen in the summer of
iqi i. Of course, my interest
in the great novelist began
long before that date. In fact, I
was still just a schoolboy when my
father first put a copy of " Oliver
Twist " into my hands. He himself
had a lively recollection of its author,
for Dickens was a personal friend of
my grandfather, and a frequent visitor
at his house in Westminster. It was,
I believe, their common interest in
social questions which first drew them
together, for my grandfather was a
J. P., and something of an authority
on the subject of workmen's dwellings,
and the letters which Dickens wrote
to him have long been treasured in
the family.
Having read one of the great
story-teller's works, it was not long
before I had devoured others. It used
to be my delight in those days to
hunt out the original spots described
in the books, and to people them in
my imagination with the vividly
drawn characters of the great master's
invention. Even now I never pass
down the Blackfriars Road without
looking up at that sign of The Golden
Dog and thinking of David Copper-
field. In later years I revisited all
my favourite haunts and photographed
them for my private records, and this
collection of several hundred pictures
is invaluable assistance to me when
seeking to recreate the atmosphere
of the period. For, alas ! one by one
these historic landmarks are passing
away, and the London which Dickens
knew and loved so well is becoming
an all- but- forgotten memory.
The task of transferring a Dickens
novel to the screen is, of course, no
light one. To begin with, you find it
will be impossible to introduce every
incident and character into the film.
Yet leave one out and dozens of in-
dignant Dickensians will shower re-
proachful letters upon you by every
posl Still more formidable is the job
of seeing that every tiny detail of
dress, furniture and setting is abso-
lutely correct to type and period.
I lore again a host of critics, amateur
and professional, lie in vait for the
unwary producer, and woe betide him
if he adorn an 1840 lady with an 1850
bonnet, or allow a street of mid-Vic-
torian houses to be marred by a
modern lamp-post.
It has always been a point of
honour with me to use the original
and authentic backgrounds for a
scene if this is still in existence. Hut
even so, there are always intrusive
modern details which have to be
obliterated or concealed. Time and
time again I have had the camera
set up before some quaint and pic-
turesque group of old houses, only to
find, bang in the centre, a glaring
motor tyre advertisement, or stretch-
ing across my sky line a tangle of
telegraph ^wires. When the original
building has been destroyed, the pro-
ducer has to build up an exact replica
in the studio grounds. I remember
when I was filming " Barnahy Kudge,"
one of the earliest of my films, I had
to search for days at the British
Museum in order to get accurate
details and dimensions of the old
Newgate Prison. By courtesy of the
custodians, I was allowed to photo-
graph some of the old books and prints
in their possession. Prom these, large
scale working drawings had to be
prepared, and the erection of the
prison and buildings round it was a
matter of weeks, and quite a small
army of carpenters, builders, stucco
workers and bricklayers were engaged
in building up the houses and making
the roads.
I shall never forget the two days
on which we filmed the scenes of the
Gordon Riots, and the assault upon
Thomas Bentley is himself a fine
actor and a clever impersonator
of Dickens' characters.
the prison. Two thousand five hundred
artistes took part in these scenes alone,
and the disposition of so many men
required very complete organisation.
1 had forty section commanders, each
of whom controlled sixty men. These
leaders were carefully rehearsed on
the previous day, and had exact
instructions as to the part each section
was to play. (,>uite a fleet of motor
buses brought the company down to
the scene of action. On arrival they
were marched through turnstiles, and
each man was given breakfast in a
paper bag, a collapsible cup of coffee
and a ticket. Each ticket bore the
number of the recipient's group, and
had three perforated sections, each
representing a meal.
ULY 1922
THE PI CTU RE-GO&R
17
Each section w,is then marched
to its own marquee, where dresses
were served out, every man having a
hanger and seat for himself. Action
commenced strictly according to plan
I hy the firing of a revolver. For once
the producer's megaphone was left
at home, and the action was cori
ducted by flag and sound signals,
i with the assistance of a field telephone
and motor cycle messengers. At the
word of command each leader brought
his section into play, and all threw
themselves into the fray with the
utmost conviction and energy. Two
ambulance emergency tents were on
the field in case of accidents, but there
were no serious mishaps, and even on
the biggest day there were only
nineteen cases.
When I was filming David Copper-
field, one of my earliest pictures, we
travelled down specially to Suffolk,
in order to take the old " Rookery "
at Blundeston, or Blunderstone as it
is called in the story, while on the
coast between Lowestoft and Yarmouth
we turned an old boat into a replica
of Peggotty's famous home.
I believe the next picture I pro-
duced was Oliver Twist, in which, by
the way. Alma Taylor was then the
" Nancy,'' and Harry Koyston the
Bill Sykes," and not long after,
that charming fantasy. The Chimes
Another very interesting subject to
me was " Hard Times.'' dealing as it
did with an industrial problem which
has come very much to the front in
recent years, and it was an additional pleasure
to me that my old friend and fellow Dickensian,
Bransby Williams, appeared in the character
of " Gradgrind." This clever actor later gave
an inimitable performance as" Serjeant Buzfuz "
in Pickwick, a film the production of which
caused more hearty fun to those engaged in
making it than any picture 1 remember.
In The Old Curiosity Shop, which you will
see this month, I was at considerable trouble to
show a genuine old mail coach of the period,
and had the very good fortune to secure one that
for many years used to carry letters between
Liverpool and London. Similarly in the
churchyard scene. Where Codlin and Short,
with Little Nell, rest among the gravestones, a
scene which has stuck in my fancy since a boy.
you will notice from the dates upon the stones
that they must all have been standing when
Dickens wrote the book
It is the sheer humanity of Dickens which
makes him so great an inspiration to the film
producer. Laughter and tears are so readily at
his command, his sympathy and understanding
of frail human nature are so intimate and
genuine, that there is material for a great film
in almost every chapter, and it is a mission
which 1 deem worthy of a man's fullest powers
to interpret them upon the screen.
Thomas
r etna i
tvaki
18
THE PICTUREGO&R
JULY 1922
97C,
Sportsman
TQM Ml
They say in the big cities that a man
who gets down to his job and runs it
like a hobby is the fellow that makes good.
I guess that is why I have been lucky
enough to get ahead in the picture
game. Film acting, to me, is just as S.,^ .
much fun as a hobby. Give me a screen
role that calls for a rugged Western cow-puncher
hitting the old Santa Fe trail, roping some wild
bison, and then riding with the wind on a broncho that
knows how to travel when you give him his head. It's a
man's life out on the open plains breathing the clean, crisp
air of the hills and valleys, and feeling the glow of health
that trained muscles and physical fitness alone can bring.
And because my hobby is sport, I have plenty of oppor-
tunities of answering the call of the open air in my veins
when I am stunting before the cameras.
Although I go into strict training some weeks before I
carry out risky stunts for the screen, I am fit all the year
round because sport occupies most of my spare time away
from the studios.
From my earliest days down on my father's ranch in
Texas I used to ride bronchos, but since then I have
learned lots of other sports that did not figure in our wild
life in the Western Sierras.
Now I shoot, row, box, golf, and wield the wicked
baseball stick. It just proves that if you keep your
muscles trim you can " put over " any
kind of sport. I came from the plains
as a cowboy who knew little but how
to stick tight on the back of a horse.
Now I'm willing to have a friendly test
of skill in any kind of game. It's just a
question of supple limbs, a clear eye,
and a steady hand. That combination
can help you to be quick and sure with
a gun, just as much as it puts the
accuracy and power behind a right
hook to an opponent's jaw in the
boxing-ring. When I was riding the
plains and only knew of a gun as a
weapon of defence, I little dreamed
that one day I should have the gloves
on with the heavy-weight boxing
champion of the world. I fought that
"Husky Boy," Jack Dempsey, once
in the boxing ring that I've got rigged
up on the lawn outside my bungalow.
It is because of my love of sport
that I have never had to use a
" double " to carry out my risky
"stunts." That incomparable feeling
of fitness which open-air life brings
gives me the confidence and nerve that
1 need to take risks before the cameras.
» *T
Fishing, baseball,
sculling and golf-
ing are a few of
■-A the sports which
help to keep Tom
Mix fit.
Jl'l.Y 1922
THE PlCTUREGOE-f?
19
HAPPY
H0LI DAYS
^ROSSELL MALLINSON
a holiday camp.
B^WSHHBJWMMBIHI
When you see film " stars "
attired in resplendent sum-
mer raiment flickering
across the screen amidst
picturesque cooling land-
scapes and on golden beaches caressed
with sea breezes, it is only natural
that you should assume that life for
them is very nearly approaching one
long holiday.
But if you look beyond the shadows
that you see on the silver sheet, arid
pass from make-believe to materialistic
reality, this illusion is very quickly
destroyed.
The creators of moving pictures
With everybody taking or " talking holidays "
at the present time, this article on movie-makers
and their vacations has a strong topical interest.
Read it, and catch the holiday spirit.
move continually amidst the weary-
ing atmosphere of heated studios,
with their glaring lights and myriad
nerve-trying noises. When they
journey, in fast-moving cars to
d outdoor locations amongst they
beauties of Nature, the relentless
camera-men, the producers are close
on their heels, and the tempera-
ment of the film artiste who feels the
individual strain of putting her best
work into a character-creation, ex-
cludes much of the enjoyment that
otherwise might be derived from
beautiful country.
Hence it is a natural sequence that
those who go down to the studios to
make pictures should " play hard "
when eventually they secure a vacation
away from the hissing arc-lamps and
the clicking cameras. For it is then
that they reap one of the most valued
rewards for their toil, which is the
possession of sufficient gold extracted
from the coffers of filmdom to enable
them to spend the ideal
holiday that is not restricted
by considerations of finance.
And such relaxations are
all the more prized by the
bright lights of the screen,
for so often they are post-
poned by the vagaries of
producers and the exacting
demands of lengthy pic-
tures that eat into the
summer months.
It took Bill Hart six
years before he got his first
real holiday. The success of his special
brand of film entertainment kept him
so hard at work that, when eventually
he did walk out of the studios a short'
time ago for a vacation, it was an
astonished world that regarded him,
and immediately it began to whisper
that Big Bill had retired from the
screen. There could be no other ex-
planation of his sudden decision to
go away and play with his beloved
Pinto ponies for a while, it was argued.
With many screen " stars " it is
during holiday time that one can
secure the most intimate sidelights
on their characters. For the arti-
ficiality of the studios drops away,
and they are. their natural, happy
selves.
But not so with Bill Hart. He is
spending his holiday this year in his
little ranch on the hills just outside
Los Angeles, and his surroundings
might easily be an outdoor location
for any of his Western pictures.
20
THE- PICTURE-GOE-R
JULY 1922
• " KS
&r #. •• gas
Where every prospect pleases, and only man is vile, what could be more enjoyable than
a paddle in the cooling waters of a mountain stream ? These Christie girls ask for
nothing better, anyway.
When you see Far n urn's shadow
self on the film, there is a suggestior
of tremendous energy that is a thinf
apart from the obvious strength tha'
his fine physique holds.
He will tell you that he preserve
the health that enables him to with
stand the strain of his strenuou:
screen roles by getting close to Natur-
when he has the opportunity fr
substituting the rays of the summe
sun for the beams of the studio arc
lamps.
Farnum's fights on the screen an
of the reckless, realistic order, ant
his feats of strength, such as that ii
Les Miserables, when he lifted a grea
waggon from the mud with a heave
of his massive shoulders, are no
helped by any tricks of the camera.
He has a simple means of retaining
his Samson-like strength, which is se
natural a development that it doe:
not require the continual assistance
of gymnastic training.
Give Big Bill a fishing-rod, set hirr
amidst the placid seas and pic
turesque woodlands of the Island o
Santa Catalina, and he has all th<
joys that he requires for his holiday
He is like a massive oak tree tha
flourishes beneath the sun and thrive:
on the clean, open air of the country
Farnum is a great fisherman. Thi;
year he hopes to beat the record tha'
he made a short time ago when he
won the championship in the motion
picture colony at Los Angeles bj
landing the biggest tuna fish evei
caught at Catalina Island. It weighec
just over three hundred and fift)
pounds, and it required all the
strength of Bill's muscles to play ii
on a comparatively slender line foi
three hours before he got the monstei
ashore.
^ 3*» -- 1W. «4Hk
And to see Bill in holiday attire is to imagine that he has
stepped out of the studio wardrobe - room. For the broad-
brimmed sombrero is there, his open-necked flannel shirt, and
the other details of the Western costume in which he figures
I "tore the cameras.
There is an attractive simplicity about Hart, much of which
is reflected in his screen characterisations. He has little use for
the artificialities of life. A holiday to him is to fill his lungs
with the clean, crisp air of the hills, to feel the lithe form of a
Pinto pony swaying in a reckless gallop beneath him, and to be
up at dawn attending to the needs ol the stud of horses that
are pasturing on Ins hillside ranch.
If you saw Big BUI Farnum holiday-making, you would
observe the familiar figure of the screen in a flannel shirt and
the comfortable breee hes that constitute his simple screen garb
in many oi his pictures.
Frank Mayo (above)
takes his holiday
fishing more
seriously than does
Shirley Mason
(right).
JULY 1922
TN & PlCTUf?EGOtR
21
Dustin Farnum is holiday-making'
vith his big brother this year. They
re very alike in the simplicity of
jheir tastes, these two hercules of the
creen. Scudding close hauled to the
iind in a racing yacht, or sending a
dssing line hurtling across the placid
,-aters of a Californian lake, is their
leal holiday.
' It oftens happens that those who
hove in the stellar heights of film-
om build picturesque country houses
ut of the small fortunes they have
massed from the films, only to find
nat the demands of their work in
pe studios keeps them away from
Such delightful homes many months
ut of the year. This is especially the
ise where pictures involving locations
p distant parts of the globe are con-
:rned, for the stars in such produc-
ons have to close the shutters and
>ck the doors of their luxurious
wellings and go on the long, long
ail that the producer has planned
i some distant clime.
i So that it is not unusual for film
ars to spend their holidays " down
,: the homestead " in preference to
.ie attractions of Venice, the famous
aside resort close to Los Angeles,
• the Island of Santa Catalina.
Mary and Doug are spending their
ilidays this year at " Pickfair," their
cturesque house amidst the Beverly
ills.
In the huge grounds that they have
jid out to their own designs, there
ists most of the attractions that
institute those of a holiday resort.
Doug can disport himself in his
•imming-pool, and Mary has the
lights of wooded country just out-
le the verandah where roses inter-
re the artistically tinted trellis-work.
UW
"%^--i**itr'^t.~ XTZ '*> *fcW™
'*( */ ,<o»
These pictures, specially taken for " The Picturegoer " by the Christie Film Company,
show how some of the Christie girls will enjoy their holidays. Riding, fishing and
canoeing are included in their sports programme.
->• * .
They are very proud of their beautiful home, these two happy
" children of fortune." To fill the house with friends for week-end
parties is one of their greatest delights.
Yet this summer it is probable that they will not be able to attract
many of their friends away from the allurements of Venice, the Cali-
fornian health resort that, in the height of the season, n es-nts a
kaleidoscopic scene of luxurious dress and the cream of the l<?auty
of the Los Angeles film colony.
Venice is the jewel of exquisite Californian scenery. The are
great golden expanses of sand with foaming surface providinb an
ideal spot for bathing.
The characteristic cloudless blue skies of the South mantle the
happy holiday-makers, and at night there is a suggestion of the Italian
Venice in the deep-blue of the heavens, interspersed with counl
glittering stars.
In the surf at Venice you can sec Mane Prevost, Grace Darmand,
22
Harriet Ha n i -
n< nd, and other
bathing beauties
•revelling in the
rovdly of being
allowed near the
water without
the menace of the
producer's mega-
phone to recall
them to dryer
localities.
They are splen-
did swimmers,
these Venuses of
the beach, and
their costumes are
almost as frilled
and furbelowed
as those which
intrigue the eye
before the
cameras.
Society at Long
Beach model their
bathing costumes
on the fashions
set by the film
beauties.
There are lines
of picturesque bungalows at Venice
belonging to film stars. Wanda
Haw ley, Ruth Roland, Tom Moore,
and Zena Keefe spend their summer
holidays in their bungalows at
this picturesque resort.
It is an enlightening spectacle
to see famous velvet-eyed heroines
of the screen, ruthless film vam-
pires, and grim-visaged villains
tumbling about like happy children
on surf planks and hurtling through
the water in motor-boats with glass
let into the bottom so that the
marine beauties of the seas can
be observed.
Long Beach, the famous resort
twenty miles south of Los Angeles,
is the spot where Charles Ray,
Tom Moore, Norma Talmadge,
P;i uline Frederick, and other bright
lights of the films are spending
their summer vacations.
The Virginia Hotel, Long Beach,
in the grounds of which Ford Ster-
ling and Louise Fazenda have been
filmed in many of their comedies,
is the mainspring of holiday - life
at this popular rendezvous.
Charles Ray, who even on holi-
days takes the question of keeping
his muscles in trim very seriously,
is up at dawn with his athletic
friends tossing the medicine ball,
and in other ways keeping fit for his
strenuous screen roles.
The temperament of Nazimova
does not turn to the lighter side
of holiday-making. Her ideal vaca-
tion is in her lovely home at Los
Angeles with her husband, her music,
and her books as her companions.
She is spending her holiday amidst
. the beauties of her lovely verandah-
terraced lawn, and the picturesque
sunken garden,
" This is my true existence," she
explains when friends endeavour to
THE PICTUREGO&I3
JULY 192
Top : Just the thing for a warm afternoon.
Below : Nazimova goes shooting.
persuade her to accompany them on
expeditions to the sea or country.
"Here, with my husband and the
few people I have found who appeal
to the depths of my nature, I spend
the happiest hours of my life."
Marion Davies is on a walking
tour in the Californian mountains
this summer. Despite her somewhat
doll-like prettiness on the screen,
she is possessed of a very practical
mind. On holidays she makes notes
of scenery that appeals to her, and
which could be used for locations
in future pictures
And any strikim
piece of Jandscap'
she transfers tc
the canvas, fo>
she is an accom
plished painter.
Jt was Rut!
Roland who nc
long ago dL
covered one o
the prettiest loca
tions that has
ever figured ii
her pictures wher
she was holiday
making amids'
the lakes anc
forests of th<
AdirondackMoun
tains, Atlantic
City. She re
visited this lo
cality with th(
camera-men som<
weeks later anc
converted wha
had been thi
peaceful precinct
of __ her holiday
into a scene of blaring mega
phones and clicking cameras.
That thoughtful, reflective typ
of actor, Conway Tearle, as migh
be expected, is spending his holi
day on the banks of desertec
trout streams in California. Th
restful hobby of fishing provide
him with the mind-relaxatioi
necessary to counteract studii
tired nerves.
Alice Lake is taking to th'
open road in workmanlike breeche
and a tweed sports coat. Sh
is exploring the wilds of th
San Bernardino Mountains c
Southern California, much of th
picturesque spenery of which ap
- peared in her film, Mother Love.
Many " stars," like Gloria Swan
son, are taking their holiday
in the form of a world's tout
when the capitals of Europe ar
visited. But such expedition
bring in their trail the pcnaltic
of fame in the form of reception
and public feting.
Douglas Fairbanks realised tha
world touring was far from a holida
when he visited this country nc
long ago. On the voyage fror
America to England. Mary said tha
she had never seen him so restless
He had little scope for his exubei
ance in the tameness of deck quoit
and similar ship's amusements of
mild nature. He was longing for th
tennis courts and the golf links, bi
Doug found that hero worship gav
him little freedom from his admire!
for such pastimes.
The high lights of the screen who pla
on the sun-caressed beaches of Cal
fornia and amidst the wooded hil
are more likely to glean that goo
health which has so much influence o
the charming smiles and vivid e1
prossions radiated from the scrcrn
JULY 1922
THE- PlCTUREGO&f?
23
ENTER A
LADY PRODUCER
You'll remember her best as Peggy Hyland, star oi many British
and American screen successes, but she is more than an actress.
Now that she has stepped into the production field, some of the
older-established lady wielders of the megaphone will have to look
to their laurels.
A few weeks ago, at a private
/A theatre in Wardour Street, I
I \ witnessed the first moving
W\ picture produced in England
I by a lady director.
The lady director in ques-
^ A tion, Peggy Hyland — whom
%► I first met in America some
years ago as a screen star in
her own right — sat at my side. Judging
hy the excellence of her first effort
in comedy production, I could easily
visualise her in her new role of film-
producer, giving the usual orders for
' Lights " and " Camera " in a clear,
ringing voice, to the manner born,
ind getting her effects by sheer
•nagnetic force of personality.
However, it is not only the stars
)f the noisy stage who are susceptible
:o that queer psychological " com-
blex," commonly known as " stage-
right "
Several critics were with me in the
heatre to witness the pre-view of
■"eggy Hyiand 's first independent film
traduction.
The lights went down, and at
hat moment the celebrated screen
tar, with a universal reputation,
)ecame just a very human, rather
'rightened, little girl, who clutched
ny arm and whispered, " Oh, I do so
lope they are going to like it ! "
I patted her hand reassuringly, and
aid that I felt certain they would.
i'ou see, I know Peggy rather well,
.nd was more confident about it all
han she. Then I devoted my atten-
ion exclusively to the business on
he screen.
It was a two-reel comedy that Peggy
lad chosen for her debut as a film pro-
lucer. It was of the light " domestic "
•ariety, and depicted an
nnocent deception prac-
ised by a couple of
oung lovers, who were
etermined to get mar-
led in spite of the un-
easonable opposition of
n otherwise good-
iatured if somewhat
'ascible father. Papa's
onsent, however, is ob-
lined in the end by
very ingenious ruse —
\ short, the story had
h the elements of
'ue comedy, surprise,
j i 1 e m m a , a»n d a
jecidedly original
•wst.
The lights went up
after the last laugh,
and I turned to con-
gratulate Peggy. But
she was no longer in
our midst. In sheer
" funk," as she later
confessed to me, she
had slipped out at a
very early stage of the
proceedings, and it was
only when she was being
complimented on all
sides by the critics and her assem-
bled friends that she could be
made to realise that she had proved
herself once again not only a very
charming little actress, but had also
made a decided hit " first go " as
a film producer.
I have known Peggy Hyland for
a number of years. I was always a
welcome guest at her hospitable home
in sunny California, so I waited until
the final reception and congratula-
tions were over in order to get her
impressions from a more personal
angle.
" My dear," she said', when the
crowd had melted away, " I have
never felt more scared in my life.
And I can't tell you how kind and
encouraging they all were. Now, do
tell me honestly — you know you can
be quite frank with me — was it very
dreadful ? Do you think they really
and truly liked it, just a little
bit ? "
Peggy is a very disarming little
person. You could never meet her
candid, blue-grey eyes with any kind
of insincerity. She is so honest and
straight herself that she would imme-
diately detect any kind of prevarica-
tion on your part, however much it
was intended to give her pleasure.
But in this case it wasn't necessary.
I don't think for a moment she
realised her wonderful pride of posi-
tion as the first woman to mark a new
epoch in the history of British moving
pictures. She was for all the world
like a small child who had been set
a difficult task to perform, and was
eagerly hoping that her elders had
found it good.
" Peggy," I said, meeting her gaze
with eyes as candid as her own, " I
think it was just splendid I "
She was unmistakably relieved,
and, encouraged by my interest, she
told me something about the filming
of her first independent screen venture.
She had made the whole story in a
fortnight — something of a record in
that ! For years it
had been her pet con-
suming ambition to
produce a picture.
During our long talks
in California she had
often amazed me by
her expert knowledge
of lighting, camera-
angles, scenario
" twists " — in short, of
all that technical side
of the business of
which the average
motion-picture star is
well content to remain
blissfully unconscious
or accepts as a matter
of course, without any
[Con/JtitirJ oil />ni< 64.
24
THE- PICTUR&GOE-R
JULY 19:
-^ /f/r)7i gerTrude
fc "2m yrtu/L M.ALLEN
V
man would be an easy first
candidate for the honours that
attach to the conquering of fire,
water, and other kindred dis-
comforts.
Such records are, however, un-
available— for the camera-man is
nearly always as modest as he is
useful. But amongst his un-
assuming kind, I have recently
made a discreet and patient effort
to extract " copy " for this article.
Consequently, the readers of THE
PI< rUREGOER here have first-
hand information, in a small degree,
of some of the " experiences " of
these wizards of the camera.
My first " subject " related, with
characteristic modesty, the following
incident as one of many in which he
has been " leading man " in the
cause of pictures.
" The film was one of those typical
Western railroad dramas," he in-
formed me. " One scene called for
the hero to be photographed (from
the interior) driving an express train
in circumstances which inevitably
meant that the heroine's troubles
would be mitigated if he were suc-
cessful in reaching his destination
safely. But the ' if ' proved to be
a bigger one than either the producer
or the hero had anticipated. Some-
Filming a scene on a
moving train.
The famous Hell and
ell camera shown in this
picture costs a thousand pounds.
"/*"\ hoot ! " If a certain important and
I respected member of the studio
%. fraternity were to record the
^k amount of " shots " he is
1 responsible for in the course of
a week, the pukkah " crook "
g would be a bad second in com-
^ f parison !
But the kine-camera-man has
made an art of shooting—not a crime ;
without this accomplished gunner, the rest
of filmland's ammunition would be of very
little use.
Though some of us may know " how it is
done," very few of us can do it, but it only needs
such superb pieces of photographic art as abound
in such films as Mary Pickford's latest success,
Little Lord Fauntleroy, to make the picturegoer gasp
with astonishment at the genius of the men who are
prosaically termed
' ' camera - men. "
They are the
magicians of
movieland, and
t heir magic is not
the least contribu-
tion to the suc-
cess of a picture-
play.
Thrills and
throbs, danger and
daring, are auto-
matically asso-
ciated with the
names of all those
w ho shine in
screen land ; but
if records could
be compiled and
compared, it is
safe to assume
that the camera-
lielow : Filming
a Christie corned).
UL I 1 7Z-i.
I— I V_ I U K
thing (we have never quite discovered what !)
went " wrong with the works " after we had
been speeding along the line for about fifteen
iminutes. From my view-point behind the
'camera I could only see the back of the
hero's head, but suddenly I noticed, with a
idawning horror of the situation, that his
ears were assuming a sort of green-grey hue,
which isn't natural in a healthy and normal
human being, and, after what seemed like
hundreds of years (but what in reality
could only have been a few moments) I
realised that he had lost control of the
' gadgets,' and that we were running amok I
Horrors ! We were the only two men on the
engine. The hero, after many trial runs and
explicit instructions, had been allowed to
take charge for the purposes of the film ;
and in a ghastly moment I knew that we
two were journeying to eternity ! (And I
wasn't anything like ready.) Many desperate
Attempts to regain control proved unavailing,
and, still automatically turning the crank.
[ discovered that the situation had become
too intensely terrifying for the actor. He
had fallen in a dead faint to the
door — and I was still turning !
I "No. Please don't mistake me !
It wasn't heroism — it was that
iort of subconscious activity which
nakes men do amazing things in
imazing circumstances. I must
have gone on turning to the bitter
^nd painful end. Although we
Eventually stopped our mad flight
hrough space by colliding with a
Itationary goods train, when we
Vere both ' whole ' again (weeks
ater) and realised that a miraculous
ate had saved both our lives (at
he small expense of a severe shaking
tnd many, many bruises), we learnt,
oo, that several hundreds of feet of
•erfectly thrilling ' pictures ' were
escued from the camera. Less for-
unate than we, the camera had
bst all her ' legs ' in the accident,
>ut had been discovered, ' otherwise
ninjured,' miles down the track.
ind those umehearsed scenes which
Above : Paul
Powell in-
structing Ethel
Clayton prior
to the filming
of a scene.
Left : Filming
a scene in
"The Cinema
Murder."
I had almost unconsciously photo-
graphed were so good that much
of the scenario was re -written in
order to use them !
" And that's all about that ! "
" Verily, a sufficient ' all,' " I
gasped.
" I can remember nothing worse
than being mauled by a lion ! "
quoth my second " subject."
Filming a motor-car close-up.
Even if his memory is a Pelmanised
one, you couldn't expect him to do
much better than that, could you ?
" No serious complications," he
continued, reassuringly. " I just
calculated too strongly on the charm
of my own personality, and persisted
in getting a ' close-up ' of the
delightful beast. But it didn't
realise my charm — and it had to be
shot before I escaped, leaving behind
me a goodly portion of my right
elbow."
And even unto the third (and
last) subject did I find that exquisite
quality which is called Modesty.
" I'm afraid the best I can do is to
relate that, whilst photographing a
real (not reel) fire, for a topical sub-
ject, I came near to being roasted
alive. I could sense some perfectly
marvellous fire effects which might
be obtained from the roof of a
building adjacent to the blazing
structure. So I wormed my way
through excited and hysterical crowds
and gained my vantage point. Several
of the firemen warned me that I was
' asking for it.' I quietly ignored
their protests, and steadily ' turned.'
"Engrossed as I was in the job
of capturing the really picturesque
part of the proceedings, I failed
to notice that the flames had
spread in an alien direction, and it
was not until a warning shout came
from one of the firemen that I
realised that the buildings on the
other side had joined in the merry
crackle — and that I couldn't possibly
get back the way I had come.
" All the ' intense ' situations of
the film-play ' fire ' were acted on
that roof in the next few moments.
I was rescued, after much difficulty
and danger, by a courageous fireman,
who, when I regained my senses,
proceeded to give me a perfectly
deserved ' dressing down ' for my
stupidity.''
26
THE- PlCTUREGOtR
JULY 1922
Left : Mabel
Julienne
Scntt.
0\?W
Jioikers
Sydney Fairbrother
If there were no Movie Mothers, scenario-writers would
have a very lean time, and the screen would lose some
of its most picturesque personalities.
is curious how one great picture forthwith creates
a vogue for a whole long train of other films with
a similar theme Since the release, in America,
of The Sheik, there has followed, and is following,
a " long, long trail " of screen stories with " love
in the burning desert " for a foundation. After
the big stir made by D. W. Griffith's Orphans
of the Storm, there came announcements from
several film companies of work on scenarios with
French Revolution scenes as a basis
of theme.
Most important of all the " fashion-
setting " films, however, is considered
Humoresque, which, through the mar-
vellous mother role depicted by Vera
Gordon, put mothers in their real
place on the screen at last. Of all
people in the world, mothers must be
reckoned the most important ; yet
it has taken the film world a good
many years to find it out ! In most
pre - Humoresque films, a mother was
a supplementary figure, and rarely
of any great importance to the story
as a whole. Very often, in fact, she
was just a little bit of padding in-
serted to fill out the time between
more vital scenes !
It was just Vera Gordon's truly
maternal personality, coupled with her
clever acting, that carried motherhood
to star heights in movieland. Before
Humoresque, though known in the
stage world to a certain extent, she
was quite unknown to the average
picturegoer. She had no heralding
advertisements to prepare the public
for her ; her very role was intended
by the scenario to be merely a support
to an established star — and yet she
just walked away with all the honours
of the film ! She is really and truly
a mother with two bonnie children of
her own. Their interests, their edu-
cation and health, their childish joys
and sorrows — these are her first con-
sideration always. And that is the
kind of mother she was in Humoresque
— big-hearted and sincere, living for
her children's welfare. When ques-
tioned as to whether she found acting
for the screen different from stage
work, she declared that what she
found the greatest difficulty was
getting the right emotion necessary
for a close-up. " Once I had to give
a close-up — just my face — when I was
supposed to be weeping over my
baby," she said. " I simply couldn't
do it. Then the director gave me a
doll and told me to pretend that it
was the baby. But it was no use- -I
just couldn't squeeze out one tear
JULY 1922
THE- PICTU PEGO&r?
27
Mary Carr with her six children.
for a lifeless doll ! So the whole business had to
be held up till the next day, when a real baby was
procured — and then I wept all that was required ! "
Of all the pre-Hunwresque mothers, Kate Bruce
is perhaps one of the best known. She is always
the simple, forgiving, patient mother prematurely
aged by the worries of family life. She has always
kept to these tender, gentle roles, such as she
played in Way Down East — typically maternal,
but without the modern robustness of Vera
Gordon's " Mamma Kantor."
A similar type is generally associated with the
name of Edythe Chapman. She, too, is the gentle, tender
mother, essentially feminine, but somewhat sentimental
There is an aroma of lavender generally about her mother
parts, suggestive of a restful " old-worldliness." The kind
of mother is she to whom the son or daughter, tired with
" city life," can come home to be soothed and com-
forted, without any need to embark on a rigmarole of
the cares that cause the tiredness !
Sylvia Ashton cleverly depicts the kind of
mother of which, fortunately, there are few in
the world. She is generally selected for the
haughty Society mother to whom all children
and domesticity are a terrible bore. She is
often an aggressive mother-in-law, as in the
role she played with Gloria Swanson in Why
Change Your Wife ? In these characterisa-
tions she shows a great histrionic talent, and
convincingly proves, by comparison, how
truly wonderful most mothers are !
She has played the lovable mother
">n one or two occasions, however.
Perhaps the best of these was in A Girl
\' anted Mary. In this film she just
doried in making " Mary's " favourite
linners ready for the little typist —
)layed by Marguerite Clark — when
ihe returned from her hard day's work.
; The films which feature Mary Can-
aid Mary Alden in mother parts show
nstances of directorial feeling of the
>ulse of the public. Simple homely
'ales of mother-love appeal strongly
'o the kinemagoer, and mothers are
rrowing almost as important on the
creen as in real life ! As poor " Ma
5enton " in Over (he Hill, Mary Carr
lives one of the finest, most pathetic
personations ever filmed. It is a
lomely tale of plain humble folk in
rhich the little worn-out mother
! goes over the hill to the poor-house "
'ither than be a burden on any of her
Ihiklren. It is left for the scapegoat
in — so-called by his pious brothers ! —
[Contimud on pagt 64
Left : Edythe Chapman,
a pathetic " motri* ma."
28
TM& PlCTUfSE-GOE-r^
JULY 1922
RICHARD DIX
Has ■•.con a large following in America by reason of
his likeable personality, and it will not be long
before his popularity extends to our shores
ULY 1922
THE PICTUR&GO&R
29
.
BETTY FRANCISCO
Appears in •Midsummer Madness," the story of which
is featured in this issue Other pictures in -which she has
played are 'A Broadway Cowboy " and " The Furnace
30
TKE- PICTUI5EGOE-R
JULY 1922
REX INGRAM
Might be reckoned too good - looking to be a director,
were he not such an excellent megaphone man Rex was
born at Dublin m 1X92 He is married to Alice Terry.
ALICE TERRY
Scored her greatest screen triumph in " The Four Horse-
men," directed by Rex Ingram, who lent added romance
to the picture by marrying the star. Alice Terry was
born at Nashville in 1896.
32
1 H t KIL lUI'it'JUtrK
j wl- i i :
f
MR. AND MRS. HOOT GIBSON
Edward Gibson, better known to fame as "Hoot.' was
married recently to Helen Johnson, a vaudeville star
Hoot, who started his career as a circus cowboy, is a
popular player in Western subjects
uli i yzz
THE- PICTUR&GOE-R
JJ
MGoHeartke Water!
The fond mother's injunction to her inquiring offspring
stands good in the case of the Sennett Bathing
Beauties when they are all dressed up for movie purposes.
The gorgeous mermaids seen on this page are Phyllis
Haver, Harriet Hammond, Marion Nixon and Dollie
Beale. No wonder that people rush to the sea when the
summer -time comes, if such syrens are to be seen.
!
34- JULY 1922
THE 'I
Jilm Stars at Home.-
PPJSGlLLj
OBAN
T>riscilla shows her
pets to Tod Browning,
who has directed her in many
of her screen successes.
Priscilla Dean 11 !*
and much of />"*
in effecting ho *
attending to tmP
after h *
t=p
JULY 1922- -35
36
THE PICTUR&GOE-R
JULY 1922
3&RQMANCE
iamfc'%
^.i!
William Fox and his daughters.
II i tli am Vox.
At work in his garden.
The romance
of big busi-
ness " is not
a new phrase.
Mul never has it
been more aptly ap-
plied than to the career
of William Fox and his
present relation to the
motion-picture industry. Denied in
his boyhood all the advantages com-
monly associated with preparation
for big business — that is, all save a
sound brain and keen intelligence to
direct it he has risen steadily from
most humble beginnings to a singu-
larly enviable position.
William Fox, President of Fox Film
Corporation, is a product of the famed
lower Fast Side of New York. His early childhood was like that
of his companions ; but lurking in his young mind was an unsus-
pected ambition and artistic sense. His parents were poor in
worldly goods. He was forced from grammar school into the
ranks of wage-earners, sacrificing his cherished hope for high school
and college. He went to work at small wages in a cloth-sponging
establishment on the lower Fast Side. He was foreman of the
shop before he was twenty-one, later was the manager, and became
the owner before reaching the age of twenty-five. The business
prospered.
" Penny Arcades," nearly all located in stores awaiting per-
manent rental, were very popular about this time. The business
of public entertainment long had appealed to the imagination of
young Fox. Having accumulated a modest capital, he determined
to acquire a penny arcade. He heard of one for sale in Brooklyn.
He bought it. and, adopting novel exploitation methods, quickly"
had it on a paying basis. Encouraged by this experience, he took
over two more penny arcades, and with equal success.
Mr. Fox soon thereafter decided that his life-work was to lie in
the amusement field. He leased
various theatres and music-
halls. Business boomed under
his keen judgment and pro-
gressive methods.
In his music-halls William
Fox had already presented
motion pictures — then a com-
paratively crude product — as
a feature of his programmes.
He noted the growing popu-
larity of pictures, and his foresight told him they had come
to stay. In 1913, with his faith confirmed, he determined
•on a policy of more pictures and better ones. He would
become a producer as well as a distributor and exhibitor.
The first picture produced by Fox was Life's Shop Window,
from the book by Victoria Cross. It was made at the Eclair
Studio in Port Lee, N.J. Next came
a remarkable spectacular production,
with Annette Kellerman, the noted
water nymph, heading the big cast.
To make this picture, the company
was sent to the island of Jamaica.
The production cost of the work ex-
ceeded half a million dollars — the
most expensive screen output on
record at the time.
Mr. Fox was one of the first pro-
ducers to realise, in the earlier period
of screen entertainment, that the
development of motion pictures must
ultimately win to their service leading
artistes of the speaking stage, despite
the prejudice then existing among
these against the film as an " inter-
loper." He soon began to have
signatures of distinguished artistes on
contracts with his company. A
few of these included William
Farnum, Dustin Farnum, Pearl
White, Bertha Kalish, Vivian
Martin, William Russell, Virginia
Pearson, Jewel Carmen,
»-?r*-i
Valeska Suratt, Wilton
Lackaye, Nance O'Neil,
Robert Mantell, Anna Q.
Nilsson.
As to personality.
William Foxis a modest,
kindly man — -slow to
make intimate friend-
ships, but holding as
with bonds of steel those
friends he admits to
intimacy. A willing
listener, he can talk
forcefully, and to the
point, when the time
arrives for talk. He
wastes no words, and
his confidence in his
own judgment, after
due weighing of argu-
ments, is absolute.
JULY IV 11
INt MIL I U I^L-LULU
JOMN FLEMING
keven years to-morrow
Margaret Meredith looked
across the table at her husband.
Tall, dark, handsome — the sort
of man that any girl. . . .
But Margaret looked down
at her plate with a sigh, and
wondered. The sort of man that
any girl might be proud to have
for husband ? True, as they walked
the streets or trod the foyers of the
great city theatres, and the passers-
by and loungers glanced first idly and
then with unconcealed curiosity at
them, Margaret well knew that she
was the envied of every girl. Tall,
dark, handsome was Bob ; a great
lover he had been ; and Margaret
herself, once a looker-on like New
York's crowds were now, had thought
that life could hold nothing more
splendid than to be his wife, to be
with him always, not for brilliant
moments, but for wonderful, years.
And now she had had those won-
derful years. Seven of them. Seven
of them to-morrow.
Seven years to-morrow. Their
wedding anniversary !
She glanced across the table again,
not this time at Bob, but at the
Osborns, Daisy Osborn and Julian.
For all these seven years, and longer,
had the Merediths been friends of the
Osborns. Their early lives had run
side by side, their marriages had been
in the same year, their homes were
not far apart. For all these seven
years they had not been parted.
Even their holidays had been taken
together. As Margaret had had an
Opportunity oi judging Bob, so had
she had an opportunity of judging
the Osborns. Seven years had they
been married too. How had the years
gone with them ? Again .Margaret
sighed.
Julian Osborn pointed with his
cigarette to the twinkling lights across
the river, shining like spilled gems
through the open window.
Even in crude commercialism,"
he said, addressing himself in general
to all, but in particular to his wife,
CHARACTERS :
Margaret Meredith - Lois Wilson
Daisy Osborn - - Lila Lee
Bob Meredith - - Jack Holt
Julian Osborn - ■ Conrad Xagel
Sarrated by permission from the Famous-Lasky
film of the same title.
" even in crude commercialism there
is beauty sometimes. Don't you
think ? "
Daisy followed his gaze.
" The factory lights ? " she said.
" Yes. Horrid ! "
Julian shot a glance at Margaret
and said no more. Margaret turned
to her husband and laid the tip of her
finger on his sleeve and smiled.
" To-morrow;" she said.
Bob started.
" To-morrow ? " he repeated, com-
ing down to earth from a heaven of
schemes and figures. " Yes ? What ? "
1 >on'1 you know what it is ? "
Bob's brow lined as he looked around
the company for an explanation.
To-morrow ? Why, yes. Thurs-
day."
Although there was only puzzlement
in his reply, he was aware that flip-
pancy seemed to be there. There
was a look on Margaret's face that
required explanation.
Well,' he said, " what ? I know
I've said something silly. What is
to-mom >w
" Our wedding anniversary,"
Margaret.
i smiled. *
" Oh, yes. Why, of course, I knew
that. Our wedding anniversary.
Yes."
He looked away, rather confused,
and a silence followed, broken by
Dais\ .
It must he ours soon." she said,
with a glance at Julian. "One lo
the trick of rerrjembenng these things
after so long."
The Osborns did not stay late.
There were things that Daisy wanted
" seeing to " in the town, things that
could not be left to servants, or even
to husbands, as she explained. New
decorations had to be selected for her
boudoir, and there were lots of other
things.
Life is a business," she said as
they went. And Margaret, watching
J ulian, saw a little shadow get stran g
mixed up in the sunshine of his si:
She wondered if life were a busim
or if it were a business for all.
They stood together a moment at
M tr HIU I UkbljU
i<:
JUL
the door, Margaret and Bob,
watching the lights of the
Osborns' car vanishing down
the avenue. Night was near.
The western sky still held its
hint of orange and silver, but
to the east was blackness, and
between the two a compromis-
ing purple sought to keep the
peace of night and day.
" Is it not beautiful ? " she
asked, turning to Bob.
" Beautiful ? " Bob echoed.
Beautiful ? Don't know that
1 should say it's beautiful.
Ck)od engine and all that, but
I hate those silver bodies. Too
noisy. Give me a grey or a
blue. Still, a wonderful thing
for two thousand. Not beau-
tiful — wonderful. Considering
the price."
At the corner the Osborns'
car vanished into the cross
avenue and Bob turned now
and went indoors. With a
deeper sigh than any yet,
Margaret followed.
That night she stood by^
her open window, looking on
the lamp-like stars and the
star-like lamps of the great
city, and thought that some-
times a girl might mistake the
one for the other so easily—
wonder of Nature, and a thing of
mechanism and the world un-
beautitul and sordid, useful, but
empty beyond its usefulness ; and yet
so nearly alike unless you knew.
Seven years to-morrow !
Margaret Meredith had the soul of
a poet, if not a poet's gifts. She could
never hope to write poetry, but once
she had hoped to live it. Now — was
the hope to die ? Bob, with his
schemes and his companies and his
dividends — what poetry had he ?
What could he see in the world but
street lamps ? What could he get from
the sky but light to save the light that
man made. To him the sun was an
economy, the moon a failure.
And yet — he was a good husband.
Everybody knew it. Even Margaret
knew it. A good husband. . . . The
sort of husband that any girl might
be proud to have. Almost any girl.
Any girl but. . . .
Margaret put the suggestion from
her. and thought, oddly, of Daisy. A
good wife, Daisy. Beautiful, charming,
popular, in many ways quite brilliant..
\ good wife. A success. But. . . .
But Margaret wondered what Julian
thought ! Julian, too, was a poem
that could never be written, his soul a
rose that might very easily end, having
blushed unseen. Daisy was a good
wife, every thought given not merely
to her own but to their — his, Julian's
—social advancement. An excellent
wife. . . . But, again, Margaret
wondered what Julian thought. Seven
years to-morrow ! Seven years for the
Osborns soon. Wasted years ? For
all of them ? Or not ?
Margaret turned from her window
and sought relief in sleep.
As Julian
bade her
night, there
seemed a subtle
significance in
the simple words
Next morning two presents came
for Margaret. The one, a bunch
of flowers, sweet and fragrant ; the
other in an envelope, a cheque for a
thousand dollars. The one was from
Julian Osborn, a little gift for her
wedding anniversary, a token of their
lifelong friendship. The other was
from her husband, a scrape of the
pen, a last-moment thought, and,
naturally for him, money. A good
husband ! Few would cast thousand-
dollar cheques at their wives' feet seven
years after the honeymoon. But. . .• .
I That night the Osborns and the
Merediths sat together on the moonlit
patio ot the Osborns' home. Friends
dropped in, business men to charm
the heart of Bob, social climbers and
the already climbed for setting to
Daisy's brilliance. And. Julian and
Margaret found themselves together,
apart from the others, where they
could talk of things both liked, of
stars without street lamps and suns
without economy.
" Life," said Julian, apropos of
nothing in particular, " life is short."
" But the years are long ! " said
Margaret, bitterly, flashing a glance
along the patio.
Julian looked at her keenly. Dong
suspected had the situation in the
Meredith household been, but not a
word had been uttered in confirma-
tion. Now there was no disguise.
The sham was dropped, suddenly,
with little show, but surely. And
Julian wondered why he had been
selected for the revelation. He looked
at her again, saw the look of
sympathy, or the appeal for
sympathy, and wondered if
another man here to-night
would have been so honoured
by the appeal. Was it the
moment, or was it the man ?
Was he the man ?
" Are things — not well?"
he ventured.
She shrugged her
shoulders and looked
away. Suddenly he saw
in her not a friend of
long years' standing, but
a beautiful woman. In
all the years she had
been but merely Mar-
garet Meredith to him.
Now she was a woman,
a beautiful woman, with
tastes that were his
tastes, views that were his
views, troubles that were as
his own. He leaned forward
and looked into her eyes.
" Margaret."
But she rose and made as
if to return to the house.
Without another word he
followed, and for the rest of
the evening only conven-
tionalities were passed. But,
as each well knew, the veil
had been torn aside, and
these two could never be
merely friends again. As he
bade her good-night, there
some subtle significance
in the simple words, and an* un-
spoken response was in her grasp
as she clasped his hand. That night
at her window she sighed, as so
often she sighed now, but a shade of
the hopelessness had gone from her.
Far from her grasp might the twin
"soul be, but no longer was he far from
her sight. A star shone for her in
the dark sky — a star she might never
hope to reach, yet one which she
would now always see shining, a
glimmer of what might have been,
but still a glimmer. Small comfort,
yet comfort, nevertheless.
The weeks drifted slowly by. By
day Margaret had her home
and her little daughter Peggy to
occupy her time, and by night the
far-off star of the might-have-been
to fill her thoughts. Intolerable life,
but less intolerable than before. Some-
times they would go to the Osborns,
sometimes the Osborns would visit
them.
There lingered the hidden signifi-
cance and the unspoken responses
that came from secret understanding,
but opportunity did not offer for the
twin souls to tread further along the
road of wonder that had opened out
JULY 1922
THE PICTUR&GOE-R
39
before them. Conventional chatter
must be the mask, politeness veil
passion ; but Margaret knew and
Julian knew, and were satisfied for
tin's little. Bob's thoughts were still
givrn to the dollar, but Daisy's mind
was ill at ease. Often she would
ga/e at Margaret's photo, and her
thoughts were not pleasant ones.
One night, many weeks after that
moonlight night on the patio, Julian
called round alone at the Merediths'
home and found that Bob was not
yet home from the pursuit. Margaret
received him, and tried to hold off
Fate by trivialities. Their eyes sought
commonplace things — pictures on the
wall, ornaments, torn copies of futile
music, anything rather than each
other's. Their talk was kept far from
the end of the road of wonder. At
first.
" Is Daisy not well ? " she asked.
" Quite well," said Julian. " Her
father is sick in Nevada, and she has
had a sudden call to be by his side.
She will not be back for some weeks,
probably. I thought I'd drop in-
to see Bob. . . ."
" Bob will be late."
" Yes ? Busy man, Bob. Fine
man. . . ."
It was such a night as that other.
Through the window the moon shone
steadily, gladly, as if it held their
secret and approved — as if it knew
and would give its aid. Margaret,
standing by the window, nodded to ,
it, and talked of the night as an easy
thing.
" So glorious," she said.
" A perfect night," agreed Julian.
" A perfect night. I came over by
car."
Yes ? "
Wonderful driving through the
avenues. A wonderful night for a
drive. And out in the country there —
wonderful !
Margaret's finger - tips strummed
upon the window pane.
Bob was telling me," Julian went
on. coming closer to her, " that you've
got the hunting-lodge ready now, up
in the hills."
Yes," said Margaret.
" A nice place ? "
Very."
I've promised myself I'd go out
and see it."
She did not speak.
And, so — now, perhaps — as Bob
is not home — I'll go now, 1 think.
It will only be an hour's run —
nothing — and such a night — just the
night for a run. A shame to waste
such a night ! "
He laughed, and his fingers sought
the glass beside hers, and he took
her hand from the window and held
it tight. For an instant he tottered
on the brink of everlasting darkness.
But she did not draw her hand from
his.
You — could come with mc," he
ventured.
She turned her head and looked at
him .
" Nothing," he said. " An hour's
run. There and back before Bob will
be home. He'd be pleased you went.
A mere nothing on such a night."
" Yes," she nodded.
" You'll come ? "
I was meaning — that it would be
a mere nothing. ..."
" Yes -but — you'll come ?"
Often Daisy would gaze at Margaret's photo, and her thoughts were not pleasant ones.
Suddenly she laughed and si
i" reach up her arms to a star
Just for the fun," she said. Ves
I'll come
She got wraps, and he prepared the
car. In five minutes they were spec.'
ing down the avenue and awav to
the open country Neither spoke
No thought of anything but the drive
might have been in their thoughts.
They did not look at one another
Their eyes were given to the si ene
and the brilliance of the night. The
miles fell away ten. twenty; houses
were fewer and farther between, and
soon there were no houses at all, and
no light save the moon's light At
last, on the rise of a hill on the forest s
edge, the hunting - lodge appeared
before them, and soon they had
stopped at its gates, and were looking
up at the black silhouette of it
"A fine place ! " Julian agreed.
Margaret nodded
' There 'd be no harm," he went
on, " in going in for a minute or
two just to see. . . ."
Without replying, she stepped for-
ward as he made for the steps With-
out yes or no she stepped firmly to
the door and knocked He glanced
at her swiftly.
A caretaker and his wife have
charge." she explained.
" Really J I a caretaker and his
wife ? Oh, Margaret ' If these
people, you know, tall< gossip . if it
should be said that you were here
She turned her eyes full upon him
and answered unflinchingly.
" Talk ? Let them talk ' Life is
more than servants' chatter !
He pressed her hand
The caretaker admitted them, star-
ing hard at seeing that Julian and
not Hob accompanied Margaret But
he stood humbly aside, offered to
find food, and left all comment to his
eyebrows. When he retired he left
no more than the merest nick of the
door ajar, and verv discreetly looked
on with only one eye. Could servant
be more accommodating
In the silence that followed the
servant's withdrawal, Julian looked at
Margaret and Margaret looked at
Julian, fearlessly, fighting Fate as if
they hoped for defeat. And then, as
if at an unuttered command. Julian
strode to her side, and grasped her hand.
' Margaret ! " he cried. " Julian !
Curbed passions then burst their
Iwunds and things that he had
hopelessly tried for so many years
to say to his wife he found himself
now saying to his friend's wife
instead. And things that she had
tried to hear from that husband
for so many years she was hearing
at last, from her husband's friend.
Strange muddle of (ates ! Wonder-
ful, happy muddle
" I know von ! " Julian cried.
" I am the firs', the only man that
ever knew you. Bob does not know
you. He never could
" Oh, [ulian ! " she whispered.
" And I
THE PICTURE-GOtR
JUliY 1922
' Your life has been waste ! Waste
(il love, (if soul, waste of yourself. Foi
is you have thrown life away, tossed
it aside as a discarded doll, as a thing
you could pick up and use some other
day But you cannot pick life up and
use it again, Margaret."
She sighed.
Life once gone, is gone for ever.
Once and then darkness. Once
broken, and there shall be no repair."
' Julian ! Do you think —
' Think ! Don't 1 know ? Have not
1, too, wasted the years, the soul, the
love . We all make mistakes. You.
But 1 have made my mistakes, too. I
have trodden the wrong and futile path.
1 have chosen and chosen wrongly.
Jin t Margaret- time is not dead
for us yet. We are not at the end.
We can choose again."
He took her in his arms and
drew her towards him. Hut she
seemed to stiffen and hold
ott. She seemed to look,
but not at him at
thing past him
" Margaret," he said.
We must breakthrough
t < ; the happiness th.it
i ,m beoursonly together
You must stay with me
come with me. We will
not return to the city
again. We will go far
away to some place, Margaret
1 )o you hear ? I love you.
love you, Margaret. You are
mine. 1 am yours. For >■
. There was a tap al the door. The
caretaker brought food and the
interruption was like a cold draught
through the thick air of a hothouse,
l.ike drunkards suddenly sobere<
they returned to Hie trivialities, took
food, made silly politenesses before
the servant, tried to look as if. . . .
The servant went, and Margaret
crossed the room to the oaken side-
board, and took up a photograph that
stood thereon. In a moment she was
back at Jiih, m's side, and showing n
to him. It was a photograph of Bob
and their little daughter Peggy.
1 wonder win that should be
here, now," she said. "It changes
everything for me. For both ot us.
Life, is not easy, Julian. We are
romantics, you and 1. Hut would it
be easier for us life if our romance
came down to earth ? We are i hamed.
but should we be really happier free
Is ate th.it way ? Who can say f Who
shall try to say ? What about it shall
i '.on Hut this is certain, that
loves you, and is your good wife,
and Bob loves me, whatever his ways,
and is as good a husband in those ways
as will be found. And there is Peggy
and and oh ! Julian, I scarcely know
what I am talking about ; but, some
how. I feel we have been saved. What
f<m 1 talking about ? Let us go. Come.
There is tune. Anothei moment and
we might have been throwing not only
our own lives, but the lives ot those
v ho love us into the gutter. Julian,
we have been fools. Let us be friends
instead." He stood with bowed head,
and then slowly led the way back
to his car.
" NTs, " he ago " Fools. It
He laughed. " I think it was the moon
did it. Thank God we found out the
mistake before it became one. Thank
God we turned back before it was too
late. As it is, I don't know how 1 shall
ever look old Bob in the face again.
Hob ! Lear old Bob ! And, Daisy.
1 ome, Margaret."
Silent and ashamed, and yet proud,
too proud that they had had the
/ love you, I lore you, Margaret ! Yon
arc mine t'f e\ ei
strength to meet temptation, and fight
it thej go1 into the car and made
their way back lo the city.
Bob and Daisy do not know," they
agreed " It will be happier for them
and all if they never know. Wc must
ourselves forget."
A month had passed. The Osborns
were at the home of their friends.
The wheels were running as they had
ever run. A star no longer shone in the
sky for Margaret and Julian, but the
darkness was less dark than before.
The knowledge of a temptation fought
and conquered was like a lightning
m the east. They were chatting idly
of many things, when suddenly Daisy
cast tlie bombshell. At tirst neither
Margaret nor Julian recognised it for
what il was
Servants," said Daisy, " arc dread-
ful gossips."
"Quite," agreed Margaret, secretly
iidering the casual remark beneath
Daisy's usual level.
Kspccia.lly servants who live a
great way from anyone and anywhere,
and have to make a little go a long
way. Such as the servants at, let us
say, your hunting-lodge.
.Margaret shot a glance across the
table. Julian turned to his wife and
felt the colour mounting to his cheeks
as he did so.
They make a little go a long way,"
Daisy proceeded, " such a long way
that sometimes it reaches to town —
to the ears of the eminent gossip, Mrs.
Hicks. And when anything reaches
Mrs. Hicks, it isn't a half-day before
the errand boys in the city streets get
it and toss it about. Mrs. Hicks can
get a scandal round quicker than any
woman who ever lived. She is saying
now, for instance — well, what do you
think she is saying ? "
What do / think ? " gasped
um Margaret, in a low whisper.
W " What should I think ? "
Daisy rose, the bantering
tone gone from her voice.
i\i J With a quick darkness in her
. ^v* eye, she flashed from Margaret
to J ulian and back to Margaret.
What would you think if
I told you that Mrs. Hicks is
telling the town that you and
Julian, you and my husband,
are in the habit of going out
there to this hunting-lodge of
yours after midnight — together,
alone ?
Bob, across the table, had
gone deathly pale. He rose
now and stared dully at his
wife for an explanation.
This," he said. " This —
is it true ? I mean — I mean, I
know it cannot be true, but —
Margaret, you hear this. Don't
you say anything, now ? "
Mutely Daisy looked to her
friend for an answer, but before
another word could be uttered, Mar-
garet had dropped with her head
buried in her arms on the table. Con-
vulsive sobs shook her frame, a tear
fell pathetically upon the flowers by
her side.
" Julian ! " cried Bob, turning to
his friend.
But it was not Julian who spoke
now. Before he could do so, Margaret's
tear-stained eyes were looking up into
her husband's, and she was nodding
hysterically. " Yes, yes ! " she cried.
" Yes. it is true. But "
Bob swung round on Julian.
" You say so, too ? "
Julian looked at Margaret, aghast
at what was happening.
" Let me say — " he began.
But Hob was towering over him,
explosive, impatient. " You will say
one of two things. You will say Yes
or No. You will say that this thing
is true or that it is not true. It is no
time for 'buts.' Yes or no ? "
" NTs," said Julian, hanging his
head
Tor a
stunned
moment Bob was as one
I le looked dully from 1 ),lisy
to Margaret, from Margaret to Julian
The sudden crumbling of all friendship,
JULY 1922
THE PICTUR&GO&R
41
Picturedoer* Parodies
CpTUART
e) HOLMES
I ^^ —hen a villain's not engaged in movie-making,
V A / ^'s thoughts are far away from scenes
\ l\ I of strife.
\d \f Instead of wrecking homes when hearts
are breaking,
He's happy with his children and his wife.
My feelings I with difficulty smother
When there's dark and dirty duty to be done.
Taking one consideration with another,
A villain's lof is not a happy one.
When I've spent a hectic day with prussic acid,
Administered to damsels in distress,
I love to sit at home, serene and placid,
Playing my neighbour at a game of chess.
In private life I wouldn't hurt a rabbit,
But people who have seen the crimes I've done
Are frightened that it may become a habit !
A villain's lot is not a happy one.
Full many a time in print I've seen it stated
I've acted like a rotter and a beast.
By learned people it's been estimated
I've broken up a hundred homes at least.
As film fans watch my movie machinations
You'll hear them say " That man's a proper Hun !
Oh, listening to their bitter exclamations,
A villain's lot is not a happy one.
If I should take a damsel out to dinner,
See how the people stare as we come in.
They whisper : " There he goes, the wicked sinner !
It's time he paid the penalty of sin."
Although I seek a corner cool and
shady,
I never can forget the things I've
done.
The band strikes up " Don't trust
him, gentle lady I "
A villain's lot is not a happy one !
X
42
TME PICTUR&GO&R
JULY 1922
***% mrmincb a la
cJ Serine
is a vagary of the screen that melodrama before the cameras,
if not very carefully presented, can speedily become uproariously
funny. The blustering villain who returns to the old village as
the clock strikes midnight has to be very wary of the retention
camera that can very quickly satirise his traditional mannerisms
and convert grimness into guffawing.
Mack Sennett, who, perhaps, more than any other man has
analysed very carefully the ingredients of screen humour, has
taken advantage of this fact most cleverly in his outstanding
new comedy, Down On the Farm.
He has transferred all the historical characters of a rousing melodrama
to the rural setting of a farm. Down On the Farm is Sennett satire at its best.
All our old friends — the faithful wife, the villain with a mortgage protruding-
from the pocket of his immaculate coat, the " ch-e-i-1-d," and the persecuted
heroine — are there. It is life down on the farm reflected in hilarious farce.
Louise Fazenda is the pretty girl of the farm whose attractions inspire
plots and counter-plots of the true Lyceum order, that eventually reduce
the rural existence of the farm to a turmoil reminiscent of a mad-house.
Harry Gribbon, her rustic sweetheart, whose efforts to milk cows and
to solve similar back - to - the - land problems are a joy to behold, falls
foul of Bert Roach, the irate father. It is then that one realises the possi-
bilities of farming implements as aid-
to slap-stick farce.
Marie Prevost is very effective as
the faithful wife who is guarded by
her jealous husband.
. True to tradition, Down On the
Farm smoulders from subtle humour
revolving around the antics of green-
horns on the land until it flares into
a riotous climax when Louise Fazenda
endeavours to escape the bad man on
a family buzz waggon loaded with
boxes. The chase that follows carries the
droll inhabitants of the comic opera farm
across the countryside until the faithful
lover rescues his lady love, and the
villain gets his just
deserts, just as the
curtain has rung down
on melodrama
throughout the ages.
Scenes from Mack Sennett' s
comedy -melodrama, " Down
On the barm," which is
released this month.
Top : Louise Fazenda as
a farmer's lass.
Above : Harry Gribbon and
Louise tn a comedy episode-
Right : James l-'inlayson
and Marie Prevost.
JULY 1922
THE- PICTUR&GOER
Better known to film fame as Viola Dana, the irrepressible sister
of Shirley Mason and Edna Flugrath.
Hiss Dana is in the garden,"
they had told me, and
confidently I had plunged
into the picturesque de-
lights of sunken lawns,
wooded glades, and trel-
lised pathways. Search-
ing for the screen " Peter
Pan " in this glorious
garden, that was even more beautiful
than any that Sir James Barrie's
immortal hero had alighted upon in
his dream flights, was something of
an adventure.
Gravelled paths intersected one
another with maze-like confusion, and
any of the numerous red-tiled summer
houses and rose-covered retreats scat-
tered around the grounds of Viola's
vine-covered home in the Hollywood
foot - hills might have sheltered the
elusive little person for whom I was
searching.
As I walked up the moss-grown
steps of a shaded lawn, the effortless
notes of a soprano voice drifted
through the trees.
Beyond a wooded pathway I saw
an elf-like figure resting on the edge
of a marble swimming-pool. A head
of wavy, rebellious bobbed hair was
thrown backwards. The sun caressed
a white throat of Dresden-like delicacy
that was vibrating very slightly with
song.
It was a pretty picture, but one
that held deception. The suggestion
of artistic effect, of Arcadian charm
and simplicity, was swept away by
ffic modernising effect of the realities
that not unpleasantly
were fo.rced on to my mind
as I drew closer to the shim
mering pool.
Viola Dana was not garbed in
Grecian draperies. A silken bathing
costume covered her very small but
charmingly proportioned figure. A
pair of laughing grey eyes greeted me,
the expressive depths of w-hich
there was no suggestion of the
seriousness that one associates
with sandalled seekers for Elysian
fields.
She laughed with infectious
good humour as she saw my
questioning glance.
" I thought I heard the song
of some forest maiden, and now
I find a very twentieth-century
young lady," I smiled.
" What do you think I am
supposed to be ? " said Viola,
with the mock seriousness of
child preparing to recount a fairy
story.
" A candidate for a Mack Sennett
bathing comedy." I hazarded, with
little imagination.
She tilted her pretty head with
an imperious gesture.
" I am a syren — a sea-nymph
singing to the waters," she said,
grandiloquently. But I saw the
fun lurking in her expressive grey
eyes.
" Now, if you had been a sailor,
you would have been fascinated by
my song and let your boat drift on
to the rocks."
Always merry
and bright.
" Ix»releis "
I said, reprov-
ingly, " should have
flowing golden locks and
not curly, bobbed hair."
" And, according to his-
torical tradition, they did
not wear the latest fashions
in Long Beach bathing cos-
tumes."
Viola chuckled as she lifted
a bathing robe of delicate skv
blue over her rounded shoulders.
" I love to forget all about myself
and invest my personality in so
imaginative person," she explained
" I used to play charades alinosi
before I was out of the nursery, and
44
THE- PICTUR&GOER
JULY 1922
Mischief
brewing.
very tiny feet encased in
bathing slippers over the
smooth lawn.
" I had always loved Cin-
derella when I was a kiddie,
and I envied her beautiful
clothes and her glass slippers.
In the film picture I had to
play tricks with the legendary
story and show a modern
Cinderella in the guise of an
orphan in sombre maid's
perhaps that is why my heart is in
screen acting. It's such fun pre-
tending that you arc somebody else."
" It's such fun." That: is the
philosophy of life of the charmingly
diminutive Metro star. Her work
before the cameras is a restless form
of merriment -a joie de vivre that,
oddly, does not find its outlet in
careless self-gratification, but inter-
prets itself through an unusual zest
for untiring work in the studios.
There is something very attractive
in. the vivid, vivacious personality of
Viola Dana : the suggestion of the
enthusiasm of a child for make-
believe, existing in a mind unaffected
by worldliness, or the materialism
thai "I necessity forms a large part
of the production of moving pictures.
" Imagination is a wonderful com-
panion,'' said Viola, as we walked
back across the lawns to the pic-
turesque ivy-covered house that she
shares with her sister, Shirley Mason.
When you found me at the
swimming pool I was away on sea-
swept rocks, and I could almost hear
the roar of the breakers and the
moan of the wind." -
There was no straining after effecl
or affectation in her manner as she
made this confession.
Viola Dana is verj natural, although
her diverse traits that follow in the
trail ot temperament, such as happy
irresponsibility one moment, and then
wistful sadness, might be miscon-
strued bv those who are not familiar
with the vagaries of those who go
down to the studios to make pictures.
It was a little hard for me when
I played in Cinderella's Twin,"
chattered Viola, as she glided her
MMK2» J.
A daughter of the soil.
costume and drab clothes."
" I believe," I interrupted, with
a quite smile, " that you have
all the enthusiasm of a child for
dressing up."
" H .isn't every woman that
instinct in her heart?" asked Viola.
I agreed, for I thought what a
charitable way it was of describ-
ing what a cynical world regards
.is feminine vanity.
When we reached the rose-
covered verandah with trellis-
work so naturally green and
slender that it is difficult to
discern it amongst the branches
and clustered foliage, Viola
laughingly kicked away her
bathing shoes and curled her-
self up in a becushioned cane
chair.
Beneath the warm rays of
the Californian sun, and
amidst the softness of the &.
air that filters through the
wooded valleys that surround Viola's
house, sitting in a bathing costume
and light robe is not catering for the
doctors as it would be in a more
southern climate.
I had my revenge on the pro-
ducer for the drab clothes that he
made me wear in Cinderella's Twin,"
said Viola, reminiscently, after I had
been introduced to two mischievous-
eyed wire-haired terriers who seemed
to instinctively recognise a counter-
part of their own exuberant spirits
in their pretty mistress, and utilised
all their canine persuasiveness to
make her romp with them.
" Keep quiet while we're talking
business," she said to these delight-
fully shapeless animal's, who had the
long legs and slender, wiry bodies of
puppydom.
They rolled their quaint eyes in
my direction as though they held
me responsible for spoiling a pleasant
afternoon, and settled down in
furry heaps beneath their mistress'
chair.
" In The Offshore Pirate," ex-
plained Viola, offering me a cigar-
ette, " I had the opportunity of
wearing beautiful clothes. I chose
garments of rainbow hues. I had
a dinner gown of lavender taffeta,
another of shell-pink crepe-de-Chine,
and one dress composed of inlaid
petals, just like those of roses.
" I was very happy in The Off-
shore Pirate. It appealed to my love
of luxury to play the part of the
ward of a Southern Californian
millionaire. Somewhere down my
line of ancestors," laughed
Viola, " there must have
been someone with very
extravagant tastes, which
I have inherited.
" I revelled in the
comforts of a mil-
lion-dollar yacht
" Now,
for a
swim I "
^
that provided us all
with plenty of fun
when we were not
using it for the film.
For many of the
outdoor locations
were taken at Cata-
lina Island, which
is more often asso-
ciated with holidays
than film work, for
it is a popular seaside
resort for members
of the moving-pic-
ture colony.
"As a matter of
fact," confessed
Viola with a
twinkle in her
laughing eyes,
" much as I
love film
wor k , I
JULY 1922
THE PICTUREGOER
was often glad
when the director
shouted 'Cut'
at the end of the
day's work. I had
a motor-boat of
my own at Ca ta-
lma Island, and I
delighted in skim-
ming across the
waters of Avalon
Bay. Speed has a
tremendous fas-
cination for me.
"In Seeing Is
Believing, I drove
the powerful motor
boat Hurricane II.
around Balboa
Harbour, in the
race scene. I ap-
peared on the
screen in that in-
cident with an ex-
pression of tense
excitement on my
face. Most people
thought that was
acting. It wasn't.
I just felt like
that, all tuned up and thrilled, and the cameras
caught my natural expression."
In that little confession Viola Dana disclosed an
enlightening sidelight on her success on the screen.
With the aid of her gift of imagination that she terms
her " friend," she can reflect the mood of a moment
when characterising before the cameras, because she
has the power to lose her own personality in her work
and live in her parts. She has the natural gifts that
enable her to portray the transmigration of emotions —
which is how David Wark Griffith once described
the ability to lose one's real self in a screen portrayal.
Flying used to be a favourite hobby of mine,"
said Viola. " But I never seemed to have enjoyed it
since poor Locklear was killed. He gave me my
first experience of the air, and after his sad death I
never really felt happy in the air again. I was
haunted by the memory of his terrible spin to earth
from the clouds.
Imagination, you see, can' sometimes be a two-
edged sword," she added, with a sudden wistfulness
in her quickly changing grey eyes.
I played with the frolicsome fox-terriers whilst
Viola, with shapely white limbs flying in all directions,
scampered up the broad, luxuriously carpeted stairs
leading from the cosy lounge hall to augment her
scant attire.
Quick changes in the studio, it would appear, do
much to speed up her ideas of the time that should
be taken over one's toilet. With quickness that
would have silenced the scoffers who make fun of
the hours that pretty femininity devote to their
sartorial adornment, she reappeared in a few
minutes, looking daintier and prettier than ever in
a charming afternoon creation of many frills and
trailing laces.
She held a tiny, sleepy little Pekingese towards me.
" Let me introduce you to Radiolite," she said,
laughingly. " He's very annoyed becaused I dis-
turbed his beauty sleep. He doesn't include the
observance of social amenities in his somnolent
outlook on life."
He was the smallest thing in dog flesh that I had
ever seen.
" Tiny, isn't he ? " said Viola. " He was sent to
me by a kind-hearted admirer, who described him
as a watch-dog — I think he must have meant a
wrist-watch-dog. Dallas -Fitzgerald said I ought to
" TJ I were not i
star, I'd be a farmer'
lass," savs Viola Dana
feed him on the heads of
matches, so that I could
find him in the dark."
Over the refreshing
fragrance of tea, served
Japanese man-
servant whom my
hostess referred to as
Sessue when he was
out of hearing, we
travelled back along
the pleasant paths /
of kinemahistorv. .-:
/
Viola Dana and her
sister, Shirley Mason.
46
THE- PICTUR&GOE-R
JULY 192?.
The girl in the garden — a charming camera study of Viola Dana in a picturesque setting.
She told me of how she had been a
star at the early age of sixteen. That
was on the stage when she played in
" The Poor Little Rich Girl," and it
was during the run of this production
that she took the name of Viola Dana,
for her real name is Viola Flugrath.
One saw the deeper emotions of the
vivacious Metro star, and a human
example of how humour and tears are
not far apart in a girl with her imagin-
ative appreciation of life, when she
spoke of John Collins, the Prince
Charming of her very youthful days.
" He gave me my first position in
pictures," she said sadly, " and after-
, wards he became my hero in real life
as well as before the cameras. 1
married him when I was sixteen. He
died soon after, but I always think that
my memories of those happy days gave
me the power to think and feel more
deeply. I was able to reflect emotion
on the screen with greater realism,
because I had known sorrow at a very
impressionable age."
Then, as if almost apologetically, as
though she had a brief regret at showing
those hidden emotions that beneath
her merry madcap personality she so
successfully conceals from the world,
she became the laughing girl again, and
told me an amusing story of Gladiola.
" I played the mother in that pic-
ture," she chuckled, " and my four feet
eleven inches presented a problem for
the producer. He had to discover a
child that was sufficiently small not
to be ludicrously taller than I. Days
wete spent finding this diminutive off-
spring, and I very nearly had to resort
to the subterfuge of padded boots to
increase my inches.
" My screen career has been identi-
fied almost constantly with Metro,"
she told me. " The Willow Tree, The
Chorus Girl's Romance, and Please Get
Married are amongst my favourite
films because they were the first pic-
tures that did not give me shivers down
my spine when I saw myself acting for
the first time in the private theatre
adjoining the studios.
Seeing oneself on the screen is a
bigger nerve - strain than you can
imagine. Shirley and I often see our
pictures together, and we hold each
other's hands in the dark — it's kind of
comforting.
We always go together to see
Edna, our sister in England, in her
pictures. Through the screen we watch
one another grow up. We've been
separated for a good many years now,
and although we are hundreds of miles
apart, we keep in touch through our
shadow selves. Once Edna wrote and
said that she had seen me in Sorren-
tina, and she added, ' You are develop-
ing wrinkles, my dear.'
Ugh! " said Viola, and I am sure
that her tongue was dying to protrude
from her pretty lips. " 1 had my own
back when I wrote and told her that
she was out of the fashion, as she
hadn't bobbed her hair. And then, like
Shirley, she followed my example and
had her hair clipped."
She recalled the days when with
Shirley and Edna she was framed as a
toe dancer.
" I've loved dancing ever since,"
confessed Viola, " but I seldom get
dancing parts on the film, to my
sorrow. I shimmied through life in
The Chorus Girl's Romance, but a
knowledge of terpsichore is of more
value to the stage than the screen."
" You still have a love for the
stage ? " I asked.
" It was my first love," she answered.
" And one day I expect that I shall
go back.
" Gee ! I must hurry," exclaimed
Viola, suddenly glancing at a diamond-
studded watch on her slender wrist.
" I've got the gang coming in for a
dinner and dance."
" And who are the gang ? " I asked
curiously, as we stood in the rose-
covered porch making our farewells.
" Only my noisy neighbours," smiled
Viola. " I've got May Allison, Charles
Kay, Enid Bennett, and Doug and
Mary living around this locality. So
we foregather for social evenings, and
then I drive them home by moon-
light."
Which, on second thoughts, is just
what one would expect a Merry Mad-
cap like Viola to do, for the light of the
lunar sphere is traditionally the setting
for a mercurial temperament such as that
of the happv, irresponsible Metro star
JULY 19/7
IPiilHir
THE PICTUR&GO&R
47
What are the
Wild Waves Saying?
WHY, they are whispering the
sad news that they are to lose
their Princess. After becom-
ing famous as one of the Mack Sennett
bathing beauties, Phyllis Haver, the
central figure in the picture below, has
been selected to play the part of Polly
Love in "The Christian."
But there are other things which
the wild waves have to tell, and that is.
the SIX LONG and COMPLETE
FILM STORIES IN "PICTURES"
make splendid holiday reading, either
at the seaside or countryside.
You will readily recognize July
"PICTURES" on the bookstalls -the
cover depicts a dramatic situation in
"The Nut," the long film story of
Douglas Fairbanks' great success.
GET YOUR COPY TODAY!
PICTURES
THE SCPEEN MAGAZINE
(64 Pages— 4 Colours— All Photogravure.
Monthly— One Shilling.
"PICTURES" is a
sister publication to the
" PICTLREGOERr
Three Balking Belles who won fame a- mem-
Mack Sennett Beauty Squad - Harriet Ha>
PhyllU Haver and Mane !':<
48
THE PI CTU R. EGOE-R
JULY 1922
Looking
Backward" wit/?
Charleys Ooie
c^ ' BARNETT C. KIESLING
In his thirteen years of movie-making, Charles Ogle
has played in over five hundred photoplays, so his
reminiscences are worth reading.
The itinerant Hie of a Methodist
minister's son ; the strife and
matching of wits of the law
court; the glamorous, kalei-
doscopic existence of stage
and studio ; such have been
the widely different com-
plexes winch make up the
personal and professional life
of Charles Ogle, thirty-five years a
player, thirteen of that time a veteran
of motion pictures
Nobody who has ever seen a photo-
play needs any introduction to Charles
Ogle he's been in over live hundred
of 'em, in every kind of character
from leads to old men. Of later
years he's been known for lovable,
fatherly things like the old stage
doorkeeper in After the Show, or " Pa
Jucklins in The Fighting Schoolmaster.
Ogle is like a mirror of the kinema
and an interview with him reflects
scores of interesting facts not generally
known.
( harles ' >gle's first job on the stage
wis for eight dollars a week and
es." His .first work in pictures
was under the direction of David
Wark Griffith, in moo. Griffith was
then jusl starting on a career which
lirought him fame and fortune.
was a well known stage playci
at that time,
and was signed
by Biograph at
the extremelv high
pay of ten dollars
a day. Since 1909,
Ogle has played with
practically every star
in the business. He
has seen them rise and
fall and die.
" It was my mother's
great ambition that I became
a lawyer. From the very first,
however, I was interested in
the stage. And to study law
one must have money. So at
nineteen somebody — I don't re-
call who — offered me a charac-
ter baritone part in Asbury
Safer 's light opera, ' The
Little Typhoon.'
" Another season I acted
as ringmaster, and played the tuba
in the band for Miller Brothers' Circus,
out at Beaver Dam, Wisconsin. It
was then that I met Fred Stone,
now the famous comedian. Stone was
with a competing circus that had a
route parallel to us."
Mr. Ogle's recollection of his circus
days is clouded with memory of the
death of his father. The elder Ogle
dropped dead in his pulpit while
preaching a Fourth of Jul}- sermon.
The support of the family then de-
volved upon Charles Ogle, who, com-
pleting his legal education, commenced
the practice of law. For four years
he pleaded the causes of his clients
mm 1 essfully.
All of this time thoughts of the
stage had been resolutely shoved to
backgrounds. The apogee of his
success was reached when he ran for
the Circuit Judgeship, and was de-
feated by the small margin of 184
votes.
This defeat crystallized Mr. Ogle's
desire to return to the stage.
" I went to my mother,'' he relates,
"and pointed oul that 1 had fulfilled
her wish of becoming successful in
law. Hut 1 further told her that 1
hated law. and that to be truly happy
I must return to the stage. So she
gave her consent, and I made my
re-debut in a quick-fire old melo-
drama, the ' James Boys in Missouri.' '
In this show- were Mr. and Mrs.
Ed, Kimball, mother and father of
Clara Kimball Young. The now
famous star was not yet on the scene,
although in later years Mr. Ogle saw
her grow from a baby into her later
success.
The name De Mille became identified
with the Ogle destinies when he
joined the James R. Waite Reper-
toire Company for seven \ ears. The
different plays interpreted were all
by Henry C. De Mille, father of
William and Cecil B. De Mille, the
present famous motion picture direc-
tors, with whom Mr. Ogle is now
frequently associated. At that time
Cecil and William were just com-
pleting their. educations, and securing
under their father and mother that
thorough dramatic training which has
brought them to their present heights.
Then came two seasons in a show
the name of which has escaped Mr.
Ogle's memory.
But I do remember," he savs,
" that I was the Irish father of Mary,
Jack and Lottie Pickford. Mary and
Lottie were very young girls, while
Jack was just a baby. In fact, I
believe 1 carried him on the stage for
his very first appearance. We paid
baby Jack a salary of twenty-five cents
a week and I'm not sure he didn't
take it out in gum drops."
Remember Joseph Howling, The
Miracle Man? Dowling was Ogle's
boss foi several seasons. At that
time the wonderful old white-haired
character player was a famous pro-
ducer, and had three different shows
on the road
" My last legitimate show," Mr.
Ogle said " was with Mabel Garrison
in ' The Blue Mouse.' John Emerson
w.is stage director of this show. It
wasn't long liter tins tliat Mi. Miner-
son came into pictures as a writer."
\ ai ationing in the year 1907, Ogle
lust made contact with David Wark
Griffith. Griffith was getting up a
troupe to put on a pageant. " Poca
hontas,' at the [amestown Exposition
JULY 1922
THE- PICTUf2E-GOE-R
49
How they made, movies ten years ago when
Charles Ogle first joined the Famons-Lasky
Company. Note the primitive scenery.
The financial guarantees, however,
were not enticing, and he decided
against the proposition. Later on,
however, he again met Mr. Griffith,
then gaining his honour of being one
of the now famous old " Griffith
Biograph Troupe."
When Biograph approached him
in iqoq, they approached a man who
was then of the same status that a
" star " is nowadays. He was offered
the overwhelmingly huge salary of
ten dollars a day, later increased to
fifteen. As extra people were getting
three dollars a day then, and real
players five dollars and six dollars, it
can be considered that Mr. Ogle was
decidedly a leader.
The Honour of His Family and
The Last Deal were the Biograph
pictures in which Mr. Ogle appeared
under the direction of David Wark
Griffith.
Compare The Honour of His Family
with the present-day Griffith master-
pictures running into twelve reels
The length, as given on the little
advertising " throwaway " describing
it, was 988 feet, or about 12 feet less
than the total length for one reel.
It was released January 24, 1910,
and in the cast were Owen Moore
and Henry Walthall, star in his own
right ; James Kirk wood, featured in
recent Paramount pictures; and Mack
Sennett, noted comedy producer.
My memory regarding individual
pictures is rather hazy," says Mr.
Ogle. " From 1909 to 1914 I appeared
in about three hundred different
picture plays, averaging pne a week,
and sometimes playing in two or
three at once.
I do recall, however, The Iron-
A character make-up.
master, a picture which introduced to
me Rex Ingram, director of The
Four Horsemen of the Apocalypse,
and one of the biggest men in the
industry to-day. So far as I know,
it was Ingram's first picture.
" In 1914, with Miss Fuller, I
joined Universal in the East. 1 can
recall that Miss fuller was paid by
Universal 800 dollars a week, 500
dollars for salary, and 300 dollars for
wardrobe and publicity. Tins contract
got tremendous newspaper notices, as it
was a very large amount for those days.
" In 1916 I fell out of a window
and nearly out of pictures ' We were
doing a fire scene near Ossining, New
York, and I jumped from a two-
storey window, breaking both ankles.
" The doctors told me that I would
never be able to act again. So after
(losing up my affairs in New York,
1 came to California to recuperate.
" I went out to the Lasky studio
one day to meet William and Cecil
[>e Mille, son.s of that Henry in whose
plays I had appeared so often. Those
young men, with Jesse I.. Lasky,
whom I had known as a successful
vaudeville impressario, had estab-
lished a plant especially for five-reel
feature pictures, using the best plays;
rather a new wrinkle in film-making,
but one which has proved the back-
bone of the industry as it is at present.
1 proved to be just the type Mr.
William De Mille wanted for the
play, ' The Heir to the lloorah,' and
I signed a contract to begin August
23, 1916. But before that day rolled
round Mr. Cecil De Mille found un-
satisfactory a certain actor playing
in Joan, the Woman, one of the series
in which Geraldine Larrar was starred.
So I really started on the West Coast,
August 21, with Mr. Cecil B. De Mille.
" Rebecca of Sunnybrook Farm is
one of the early Paramount pictures
1 particularly remember, because it
brought me with Mary Pickford, the
little girl I had known with Chauncey
Olcott, now a very famous star."
Charles Ogle's delicate, well-drawn
character impersonations of later yeaYs
have become nationally famous. He
will be recalled at once for his work
in such pictures as The Valley of the
Giants, Haivthornc of the U.S.A.,
Treasure Island, The Prince Chap,
What's Your Hurry? Conrad in Quest
of His Youth, and .1 Wise Tool.
More recently he has appeared in
such Paramount pictures as North of
the Rio Grande, Flu Woman I
Walked Alone, and After the Sh
But fifty-seven years old, Charles
Ogle considers himself but a " young-
ster " in pictures.
Thirty-five vears an a<
still in love with the prof
its people that's Charles <
50
THE- PICTUREGOtra
JULY 192?.
ma c/7lMrra\
— the well-known British film
actress, starring in "Creation,"
etc., is one of the many film
stars who use ' Eastern Foam.'
says
'The name 'EASTERN FOAM' has always had a fascination for me,
and now its use has in no way diminished that fascination, rather has it
been increased. As everybody knows, a good complexion is the. first
essential possession ij you wish to be a success on the screen. The camera
does not miss or cover up any blemishes, rather does it intensify them, so
yon. will readily understand my appreciation of ' F. ASTERN bOAM'
as it enables me to keep my sl^in beautifully clear and soft, in this
trying English climate.
" From the first day of using ' EASTERN FOAM ' it has
never been absent from my dressing-table, nor will it ever fee."
{Signed) THELMA MURRAY.
FREE DAINTY BEAUTY BOXES
um Boxes" of ' EASTERN FOAM' — idea" for the pocket or handbag — are
■ Men i ,;l stamped a I envelope tor return, to
The British Drug Houses," Dept. J.D.B.), 16-50, Graham St.. London, N.i.
I VSTERN FOAM' is sold in Large Pots (Price Is. 4d.)
by Chemists and Stores everywhere. (Jet one to-dav.
EASTERN FOAM
VAN I Li l-l I NO. CREAM
THE CREAM OF FASCINATION
JULY 1922
THE- PICTURE-GOE-R
51
SHADOWLAND
I "^ .—arm weather programmes
I 1 / are, as a rule, somewhat
\ l\ I uninspired, for there has
Y V been a fatal tendency
amongst British exhibi-
tors to meet small attendances half-way
by supplying cheap pictures. It is there-
fore refreshing to note that the July
releases are of a somewhat higher
average than usual. There are few
"world-beaters" amongst them, but
some useful productions will reach
British screens this month, notably
itwo excellent " home-made " pictures
1 f.n Mr. Justice Raffles and The Old
Curiosity Shop.
Picturegoers took very kindly to
Raffles when he made his screen
lebut, and there is no doubt that they
•vill thoroughly enjoy Mr. Justice
Raffles, a Hepworth production re-
eased this month. The story, telling
|)f the cricketing crook's triumph over
i blood-sucking money-lender, pro-
vides a succession of dramatic thrills,
'ind the acting is admirable through-
out. Gerald Ames does good work in
he title-role, and he is admirably
upported by James Carew, Hugh
'lifton, Henry Vibart, Lyonel Watts,
nd Eileen Dennes. Beautiful back-
grounds and first-class photography
jontribute to the general excellence of
he production.
VX 7ith The Old Curiosity Shop,
VV released this month, Thomas
Itentley completes ten years of film-
making in Dickensland. His latest
iroduction is a worthy addition to his
j:reen library of Dickens' classics, and
11 picturegoers should be pleased with
lie fare provided. Mabel Poulton, who
|as been seen in two previous Welsh*
earson productions — Nothing Else
Matters and Mary - J-'ind - the Gold —
shares acting honours with William
Lugg, who plays " Grandfather " to
her " Little Nell." Hugh E. Wright
is seen as " Codlin," Pinto Conti
makes a ferocious " Quilp," whilst
the irrepressible " Dick Swiveller " is
played by Colin Craig.
By the time these lines appear
British picturegoers will have
been accorded their first taste of
German films, for the Goldwyn Com-
pany is taking the plunge and releasing
a number of ex-enemy productions.
Their first release, The Cabinet of Dr.
Caligan, is about the weirdest picture
ever shown on the silver sheet. It is
an audacious experiment in movie-
making that deserves to succeed by
reason of its originality. At last some-
thing new under the movie sun has been
discovered, and, whatever your private
opinions may be, you will have to
admit that Germany has got ahead of
the rest of the film world on this
occasion.
The William De Mille production,
Midsummer Madness, can be
classed as excellent entertainment, for
every reel bears the De Mille hall-
mark of merit. The story, which is
given in full elsewhere in this issue,
concerns the matrimonial misunder-
standings of a millionaire and his wife.
The acting is of the highest quality,
which is scarcely to be wondered at,
seeing that the cast includes Conrad
Nagel, Jack Holt, Lois Wilson, Lila
Lee, Betty Francisco, Claire McDowell,
Charles Ogle, and Lillian Leighton.
The title is distinctly topical, but the
picture should please anybody, any
time, anywhere.
CRITICAL GOSSIP-
ABOUT PLAYS &
PLAYERS IN
CURRENT PICTURES
Swedish Biograph productions are
always welcomed by picture
goers of discriminating taste, and
Victor Seastrom's current release is a
good example of that master producer's
art. It bears the intriguing title, I
Lover in Pawn, and the producer, who
plays the stellar role, is supported bv
Greta Almroth and Concordia Selan-
der. The story tells of an elderly
pawnbroker who forces his attentions
on a girl whose sweetheart has become
indebted to him As " Enman," the
pawnbroker, Seastrom gives one of
his inimitable character studies, and
Greta Almroth makes an appealing
heroine.
A film version of Martha Morton's
play, Her Lord and Master, is
Alice Joyce's vehicle this month. The
story tells of an English nobleman's
marriage to an American heiress, and
the troubles of his irresponsible wife
in staid English society. The plot
is distinctly thin, and does not afford
much opportunity of real acting on
the part of the players Frank Sheri-
dan, Marie Shotwell, Walter McEwen
and Holmes E. Herbert support the
star. Fair entertainment.
\\TeTe ne alive to-day the author
V V of Cinderella ' ' would be draw-
ing more royalties than Ethel M. Dell.
The theme of the popular fairy-tale
has formed the basis of countless film
plots — and still they come. This
month's addition to the " Cinderella
family is Viola Dana's offering, Cin-
derella's Twin, in which the versatile
little film-star is seen in the role of
a scullery maid who goes to a ball.
meets Prince Charming, and under-
goes more adventures than her illus-
trious namesake. Cinderella's 1
5;:
THE- PICTUI2EGO&I3
JULY 1922
V i i< tiitisti
' ol/ins re
however, only average fare, in spite
the efforts of a cast that includes such
likeable personalities as Wallace Mac-
Donald, Kuth Stonehouse, Cecil Foster
and Edward Cecil.
If you like domestic melodrama, you
will enjoy Pearl White's current
release, Know Your Men, which is
described as a drama of woman's
strength and weakness. The serial
star is seen in the role of a persecuted
wife who wins happiness after many
tribulations. Wilfred Lytell, a brother
of the famous Bert, and to whom he
bears a strong resemblance, is seen
opposite Pearl White in this produc-
tion Others in the cast are C.
Downing Clarke, Harry C. Browne and
Byron Douglas. The film is good stuff
of its kind, and Pearl White's many
admirers should have no cause for
complaint.
1"he pertinent query, What's Your
Reputation Worth ? announces
Corinne Griffith's release for July. It
is the story, somewhat unsavoury, of
a girl who agrees to be " evidence for
divorce " in order to help her em-
ployer, whom she secretly loves.
Corinne duly loses her reputation, but
wins it back again, and a husband
into the bargain, before the final
fade-out. Percy Marmont, who sup-
ports the star in this picture, is an
Englishman who has been selected
to play the role of " Mark Sabre "
in Fox's version of // Winter Comes,
I^om Mix's current release, Hands
Off, is described as .1 Western
whirlwind, and the description is
about adequate. Tom is seen in the
role of a Texas ranger who leads a
hectic life on the Mexican border.
The film is a mixture of Western
melodrama and slapstick comedy, and
contains a number of choice thrills.
Incidents in the picture include at-
tempted lynchings, hold-ups, a stam-
pede of wild horses, and thrilling hand-
to-hand fights, so spectators cannot
well complain of lack of excitement.
Pauline Curley supports the star.
Thomas Meighan's July offering
shows the star in the role of an
author who is- spoiled by success.
Its title is The Easy Road, and Tom
follows the primrose path through
several reels until he discovers that
uneasy lies the head that sleeps in
easy street. It is a human little story,
in which the star's pleasing per-
sonality shows to good advantage.
The supporting cast is an excellent
one— Gladys George, Arthur Carew,
Viora Daniel and Lila Lee.
IT very day and in every way movie-
^ makers become more and more
inquisitive. In addition to What's
Your Reputation Worth ? we have
with us this month What's Worth
While ? and What's a Wife Worth ?
The last-named picture features Casson
Ferguson, who will be remembered
for his fine performance in Madame X.
It is a sob-story that offers nothing
new in the way of dramatic situations,
and only earnest students of the
sentimental drama will find real
entertainment in its artificialities.
Kuth Renick, Alec Francis, Howard
Gaye, Lillian Langdon and Virginia
Caldwi 11 are others in the cast.
Lois Weber's production, What's
Worth While ? does not measure
up to the highest standard attained
by this clever woman director. The
story tells of an aristocratic girl who
falls in love with a Western oil mag-
nate of uncouth manners. Although
disgusted by the crudencss of the
Westerner, the girl cannot master her
infatuation for him, and persuades
him to acquire polish and refinement.
Like a nice obliging hero, he does all
that he is asked to do. And is the
heroine pleased ? No, Clarence. Movie
heroines are not so easily satisfied as
all that. Beautiful Claire Windsor
plays the part of the proud aristocrat,
and others in the cast are Arthur
Stuart Hull, Mona Lisa, Louis Calhern
and Fdwin Stevens,
William S. Hart has joined the
North-West Mounted Police
this month, and we see him in full
regalia in O'M alley of the Mounted.
The plot of this picture is about the
oldest on record, but Bill Hart gets
away with it simply and solely be-
cause he infuses new blood into an
anaemic theme. The police constable,
torn between love and duty where
have we seen that theme before ?
Anyway, plot or no plot, it is a good
picture, and Hart contrives to find
plenty of thrills in ancient dramatic
situations. Eva Novak, Lee Willis,
Antrim Short and Bert Sprotte sup-
port the star.
rPwo French productions, The Dream
1 and A Sentimental Burglar,
feature M. Signoret, a talented artiste
whose work is highly polished. The
first is a film version of Zola's story,
a pathetic little romance that may or
may not appeal to British picture-
goers ; the second is an altruistic
crook story that is somewhat reminis-
cent of The Great Gay Road. Another
French picture released this month is
The Girl from Nowhere, a sentimental
romance featuring Jean l^ord and
Yvonne Airel. Here, again, is a story
that will delight some people and bore
others to distraction.
Racing dramas have a public ready-
made, and The Home Stretch is
sure to please a large number of
people. Douglas Maclean, in the stellar
role, impersonates " Johnny Har-
wick," a grocer's assistant who is a
great authority on horse-flesh. How
' Johnny " acquires a wonderful horse
named Honeyblossom, and backs it to
the limit in a hard-run race, is told in
an entertaining story. Like many
people, " Johnny " discovers that it is
easier to lose money on the Turf than
to win fortunes, but the end of the
film finds him well satisfied with his
sporting venture. Beatrice Burnham
is the heroine, and the supporting cast
includes Walt Whitman, Margaret
Livingston, Wade Boetler, Charles
Mailes, and Jack Singleton.
JULY 1922
TH& PICTUREGOtR
1") uck Jones lias unpleasant memories
3 of The One-Man Trail, a Western
drama that figures amongst the July
releases. The scenario called for a
leap into the river on horseback, and
after Buck had performed the feat
for the first time, he learned to his
chagrin that the camera had not
registered the splash. The second
attempt was a perfect leap so far as
Buck Jones was concerned, but the
film buckled in the camera at the
critical moment, and it was love's
labour lost once again. When the
third leap was being filmed, a runaway
horse charged into the camera-men,
and Buck Jones, crawling out of the
river, saw that they had stopped
turning. Expressive, indeed, was his
language ! The One-Man Trail, in
which the star is supported by Bea-
trice Burnham, is a Western subject
of average merit.
C Gardner Sullivan, whose original
. screen stories always provide
first - class dramatic entertainment,
wrote Good Women, and Louis J.
Gasnicr directed it. Gasnier is the man
who produced Kismet, and he knows
just how a picture should be made,
therefore Good Women is technically
perfect as regards story and direction.
Rosemary Theby, who is featured, is
seen in the role of a feminine defier of
all things conventional. She is a rich
,and talented young lady who becomes
a notorious member of Bohemian
society, playing with fire without
burning so much as the tips of her
pretty fingers. Good Women may be
a mechanical production, but the
machinery is well-oiled and smooth-
running. Rosemary Theby, Hamilton
Revelle, Earle Schenck, Irene Black-
well, William Carleton, Arthur Stuart
Hull, and Rhea Mitchell are members
of a capable cast .
'T'he Famous-Lasky British pro
X duction, The Princess of New
York, is not a notable offering, although
it boasts Cosmo Hamilton as author
and Mary Glynne and David Powell
as stars. The story is painfully con-
ventional in theme and treatment,
and little effort has been made to
infuse new life into ancient dramatic
situations. Mary Glynne is an Ameri-
can heiress who is besieged by un-
scrupulous fortune-hunters (British),
and David Powell is an Oxford under
graduate, the epitome of masculine
virtue, who rescues her from the
clutches of her pursuers. Some in-
teresting Oxford backgrounds figure
in the film, but the story is too ob-
vious to be more than mildly entertain-
ing. Others in the cast are Saba
Raleigh, George Bellamy, Dorothy
Fane, Ivo Dawson, Phillip Hewland
and Windham Guise.
C-* ladvs Walton specialises in flapper
I roles, and she has a charac-
teristic part in her current release,
Risky Business. The story tells of a
society flapper and her love affairs,
one of which centres around a fas< i
nating Raffles. The flapper saves
Raffles from the clutches of the law,
and reforms him before the final
fade-out. Lewis Willoughby, the
British actor well remembered for
his work in Colonel Newcome, supports
the star in this picture, and Fred
Malatesta, that accomplished screen
villain, performs his usual quota of
evil deeds. The film provides fair
entertainment.
Clara Kimball Young is
seen this month in a
pleasing comedy of New York
society entitled Straight from
Paris. Clara's role is that
of a Frenchwoman, " Lucette
Grenier," the proprietor of a
fashionable millinery establish-
ment. " Lucette " is courted
by a number of aristocrats,
and she manages to keep her
true identity secret from
them all until a drunken grand-
father gives her away. Society
v snobs are satirized in the
V story, which provides
pleasing entertainment,
and affords Clara Kimball
Young a chance to dis-
play some part of her
,£50,000 wardrobe.
Thomas Jefferson, Ber-
tram Grassby, William
.. . P. Carle ton,
NotNaztmova Clarissa Se,
but her double, . „
Inez Guv. who wynne and Ger-
understudies Alia for ard Alexander
lighting rehearsals. support the star.
A Scientific Fat - Reducer.
Mme. Alice Delysia, the charm-
ing French actress, says : —
" / am delighted • ■ say that Rodiod is one of the
most scientific fat-reducing creams. I have em-
ployed it with great success and recommend it to
ill those who wish to keep a slim figure, as no
dieting is needed.— (Signed) Alice /',:
Kndiod :■. .1 renwl |uickly j'ivc,
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RODIOD PREPARATIONS.
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Beautiful
Eyebrows !
If you want perfect EYEBROWS
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JlSK FOR AN •
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The Best Value in
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Of all Newsagents and Bookstalls.
54
THE- PICTUR&GOER
JULY 1922
aim i/atop
PICTURES
| FOR PICTUREGOERS. J
| Our BARGAIN PACKET or PICTURE |
1 POSTCARDS of FILM FAVOURITES. |
Contains 60 all different, at selected by u>. =
Price THREE SHILLINGS Post Free.
MARY PICKFORD
E Beautiful portrait of this world-wide favourite, E
E printed in brown on art paper, size 25 ins. by 21 E
E ins. Ideal foi framing. Sc< urelj parked and E
= post f ice foi 1 - V't stud) of Mary, size 10. ins. =
= by 15I ins., printed in two colours. on plate-sunk =
E mount with autograph post free for 4/6-
I PICTURES ALBUMS of Kinema Stars I
= No. 1 contains— Mary Pickfnrd, Anitt Stewart, =
= Norma Talmadge, Alice lirady, Madge Evans, =
Edith Storey, Ann IN nnington, Ora Carew. e
E No, 2 contains — Douglas Fairbanks, Irving ==
ECummings, Marshall Neilan. Warren Kerrigan, =
E Ralph Kcllard, E. K. Lincoln, Antonio Moreno, E
Ja< k Vu kford.
E Reproduced in the popular brown photogravure e
E style from the latest photographs. Size of portrait E
8 inches !>\ 6 im hcs.
H Trice 1/. each set or the two complete for 1/6 E
post free,
|" THE PICTUREGOER "Portfolio of |
Kinema Celebrities
= Contains the following SIXTEEN Magnificent =
S Photogravure Portraits: |{
■ 10 int kes by l<\ inches. =
= Norma Talmadge, Miry Pickford, Nazimova, =
E Pearl White, Douglas Fairbanks, Constance =
E Talmadge, Ralph Graves, Charles Chaplin, §=
H Pauline Frederick, Mar\ Miles Mintcr, Lillian |=
iCish, Thomas Meighan, William S. Hart, |
= Richard Hartbelmcss, Jackie Coogan, William =
Farnum. =
= All tvotth framing. Price I/., 01 />o.sl free 1/2. H
| Price ONE SHILLING AND TWOPENCE, po.l free 1
PICTURE POSTCARDS. J
Hand coloured Photogravures of all the popular =
2 screen lavnurites: — =
Mary Pickford, Charlie < haplin, Douglas =
= Fairbanks, W. S. Ilatt, Norma and Constances
= Talmadge, Pearl White, Stewart Rome, Violet =
= Ilopson, Ivy 1 lose, I 'om Mix, Dorothy (osh,=
g Lillian Gish, William Farnum, lilsic Ferguson, =
§ Sessuc Hayakawa, Peggy Hyland, I'homas =
ban, Mary Mors Mintcr, Wallace Rcid.f
= Elmo Lincoln, 1 harlcs Ray, Antonio Moreno, =
S Owen Nares, Nazimova, Mar) Odette, Eddie =
= Polo, /"(• Rae, Francis ( larpenter, ( reorge Walsh, =
1 Stewart, and hundreds ol rithi
= Price 2d. each, postage extra, or any 12 for 2/.=
§ !'■-' 'tec, I
f SEND A CARD FOR OUR FREE COMPLETE LIST 1
OF KINEMA NOVELTIES.
J PICTURES, Ltd.,
1 88, Long Acre, London, W.C .2 §
~ i ' i i i 1 1 ! 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 r 1 1 1 1 1 1 1 1 : 1 1 < i .' ' i : I ' i ■ i r ' 1 1 1 1 ■ i j 1 4 1 J 1 1 1 1 1 1 . -
Mai Neigh," the Scottish contractor
whoso [Hide in his own integrity goes
jefore ;i fall, provides an interesting
character study, but the film as a
whole is somewhat slow-moving and
lacking in incident. The cast also
includes Netta Wcstcott, George
Bellamy, David Hawthorne-, Hugh
liuch Jones sets
out to see if
i)i ii sir hath
charms."
Apparently it
hathn't.
A quixotic American doctor who
marries a Japanese girl " in
name only," in order to protect her
irom a villainous suitor, starts the
romance that is the theme of A Tohio
Siren. Tsuru Aoki is the star of the
picture, and she does her best with the
poor material at her disposal. Matri-
monial misunderstandings in America
provide incidents for the latter portion
of the story, which falls down in interest
towards the finish. Even warm ad-
mirers of the little Japanese star will
be dissatisfied with the fare provided
in this instance. The cast includes
Jack Livingstone, Goro Kino, Toya
Fusita, Arthur Jasmine, Peggy Pearce,
Florence Hart, and Frederick Vroom.
William Russell's July release.
Children of the Night, belongs
to the Ancient and Honourable Order
of Dream-Adventure stories. William
Russell is a clerk in a railway office,
who reads a newspaper article about
success in high finance, and dreams
himself into the position of a financial
magnate. His adventures as a mem-
ber of a powerful secret society, known
as " The Children of the Night,"
are strenuous enough to satisfy the
most exacting of film fans. Serial
lovers will enjoy Big Bill's dreams as
much as the star appears to do, and
the action is too fast and furious for
spectators to pause to consider possi-
bilities.
A dour old Scotsman's struggle with
his conscience is the theme of
the British production, hi His Grip,
which is based on the novel by
David Christie Murray. Cecil Morton
York's portrayal of "Sir Donald
Miller, Cecil du Gue and
W. T. Ellwanger. People
who can appreciate a drama of
character should rind this picture
interesting.
Marjorie Brown is a model in a
fashionable modiste's estab-
lishment who learns that the fiancee
of an English nobleman is a member
of a gang of crooks. The mannequin
dons a dress that has been made for
the adventuress, and becomes in-
volved in a series of exciting episodes
that culminate in a romance between
herself and the said nobleman. Silk
Hosiery is the title of the story out-
lined above, and the role of the adven-
ture-seeking model is played by Enid
Bennett. Others in the cast are
Geoffrey Webb, a young British
artiste who has been seen in several
American pictures, Joan Standing,
Donald MacDonald, Derrick Ghent,
Bonnie Hill and Vernon Winters. A
likeable little romance.
The story of Youth to Youth, a
Swedish production by the Skan-
dia Company, takes us back into the
sixteenth century. It is a comedy of
peasant life, played with the artistry
that characterises Scandinavian pro-
ductions. The story tells of a young
candidate for priesthood, who is com-
pelled to marry a woman of eighty —
the relic of a former pastor — in order
to secure a living. The young priest,
being in love with a damsel of his own
age, waits impatiently for his elderly
spouse to shuffle off this mortal coil,
but she is a long time in shuffling, in
spite of his efforts' to help her on her
u.i v. A theme such as this requires
delicate handling, but the producer
has made no errors of judgment.
i 'outward rfi piigc $0.
JULY 1922
THE- PICTUREGO&R
55
• tMIIIHIHIiMHMflllllMMIIIIIIMMMIIIIIIIIIIMMItlMlttlllllllllHIIIIIIIIIIIIIMIIIIItllllllMIIIIIIIIIIIIMIIIIIIIIIIIIIHIMIIIIIIIIIIltllllllllM:
I the ' favourite ' material for
| BLOUSES, JUMPERS, etc.
One of the
new style
" LUVISCA"
standard
Blouses in the
popular V
shape, with
adaptablecollar
for wearing
high to the neck
or open, as de-
sired. Ask
your Draper to
show you this
and ail other
new models.
CAUTION I
Wben buyini " LUVISCA" look for the "LU-
VISCA " Stamp an selvedge ot everv »»rd. or
for the Tab in ever/ larncat. None tennise
without. Insist upon seeing the name " LU-
VISCA" on roar bill: genuine "LUVISCA"
tarmrats will be replaced free of charge if not
satisfactory in wash or wear if forwarded
to the mannfactnrers with the Draper's bill.
m
mm
-' i
"LUVISCA" I
Standard 1
BLOUSES I
are obtainable in all new- =
est styles and designs,
standard as to size, - -. i- , |
cut and finish, each It/ 11 §
Insist upon seeing the I
BLUE NECK TAB. 1
"LUVISCA" by the yard, j
37 18 ins. wide, in latest ihades |
and colourings
Striped DrMv:ni 3/1X* per yd. =
Hain Shade,. 4/6 per yd. I
See the neweit patterns. I
•'LUVISCA
, the material par excellence for SH I R TS%
PYJAAfAS, COLLARS, etc.
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If any difficulty m obtaining "LUVISCA." please write to
the manufacturers COURT AVLD'S Lid. (Dept. HI,), iq, Alder-
manburv, London, E.t'. 2, uh't u ill send you the name of the nearest
retailer selling it, and an Illustrated Booklci giving particulars. ihiiiiiiiiiiiI
-evnA •trie ^morU AcgAly ctmeeyrU'riiJjtei ,
a. dew-Ac&ud, e4d- iwt/d aevHten.
(Not Byothetlci
Do not waste money in fancy bottles
and cases, when the. following bewitch-
ing Krench odours (quintuple essences)
can he obtained in j;lain glass bottles,
i\ ins. by ij ins., at 7'- per OZ., post
free.
LIST OF PERFUMES
A ttihre
Cat flatten
Rase He Cast Hie
Ntno Mown It ay
Sweet Pea
Mimes x
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y nan it a
State odour desired
tfeS r" We also supply
FINEST LAVENDER WATER,
Oat~,. Pre*
one-oz. bottle, 2/6 post •t^l^rXe%^'/p'
Ith cr of V -61"-
FINEST EAU-DE-COLOGNE, / *<£& t
bottle, 2/- post freeT
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LAYTON and SALTER,
31, Duke Street, London. E.C.J.
^k'iiiiiiiiiiiiii!ii!ii!ii!i;iiii'.niirm-crrr
1
•
TY7HETHER you are proposing
" to spend your holiday at
hotel, boarding-house or furnished
flat, you will find Price's Night .
Lights ideal for use in unfamiliar
surroundings.
Safe, steady-burning and economical, pack
a box or two of Night Lights with your
luggage.
ft (\tCJL&
SHEFFIELD'S FINEST
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And SILVER PLATE.
Direct from Manufactory to your Home.
in iiiiii m;
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'T' 1 1 1 ^ offer is unique ind r annot be approached, being at least ;o "/<, under
ordinary selling pines. I !).■ knives are made of the finest Stainless Steel
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Send for our Illustrated hst of all kinds of Cutlery suitable tor presents and
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J. H. FROGGATT & SONS. Dept. PC.. 17, The Moor, Sheffield.
56
TME- PlCTURtGOErR
JULY 193
" Here goes for a close-up," says George
Walsh to Robert Servile, " the Canadian
Kipling," who came to watch the star being
filmed in " With Stanley in Africa."
The unhappiest wife in all screen-
dom Bessie Barriscale pursues
her career of suffering in The Breaking
J'i>int It is to be hoped that one of
these days callous film producers will
allow Bessie to contract a happy
marriage, for, up to date, not one of
her screen alliances has been made in
the place where good marriages should
be made. Here we see her married
to a wealthy waster who makes her
life a misery until she kills him in
defence of her child. Alas ! poor
Bessie. Should yon ask her the title
of her favourite song she will answer
you without a second's hesitation :
" A good man is hard to find."
If you can enjoy an old-fashioned
sentimental melodrama, then go
to see Hearts of Youth, the film version
of " Ishmael," by Mrs. I) E. N.
Soiithworth. It contains all the in-
gredients clear to the heart of the novel
reader love and mystery, doubt and
distrust, vicissitudes and vengeance.
Harold Goodwin, a pleasing per-
former, essays the stellar role, and the
supporting cast includes Lillian Hall,
Fred Kirby, Philo McCullogh and Iris
Ashton. This story will tug at the
heartstrings of the unsophisticated,
and bring a smile of superiority to the
lips of the wordly-wise.
1-
ileen Percy has a role after her
i own heart in The Tomboy, and
she romps merrily through the picture.
i I -en's role is that of a girl who has
.i | si< :: for manly sports, baseball
being her favourite game. She
wears male attire, edits the
sports page of a local paper, brings a
gang of boot-leggers to book, and
wins a handsome revenue officer for a
husband. Others in the cast are Hal lam
Cooley, Paul Camp, and Byron LVlunson.
A bright little comedy.
Tom Santschi is famous for his
screen fights, and he adds yet
another lively tussle to his credit in
The North Wind's Malice, a Rex
Beach story released this month.
Apart from the fight, a thrilling fire
scene and a series of picturesque
backgrounds that lend beauty to the
story, the film affords but moderate
entertainment. It is a tale of Alaska,
the hero being a man who leaves his
wife under the false belief that she
has wronged him. Acting honours
fall to William H. Strauss and Vera
Gordon, who give a delightful study
of a Hebrew Darby and Joan. The
film as a whole lacks the punch that
one associates with Hex Beach's
stories.
Shirley Mason, as "Marion," has
ample opportunities for reflecting
her ability to portray sentiment on
the screen in Mother Heart. She is
able to portray "sob stuff" without
approaching pathos or straining after
effect. When Marion's father was
sentenced for theft her mother died
of a broken heart, leaving the girl
to take care of her baby brother.
Marion became a servant at a farm-
house, the owner of which was,
unknown to her, the man who had
sent her father to prison. Tribulations
overtook her. but she won happine;
in the end. and the storv that be \ n
as a tragedy, finished as a roniam
\s Marion," Shirley Mason does her
best with a conventional role, but the
film rarely rises above average senti-
mental drama. The supporting cast
includes Raymond McKee. Cecil van
Anker, Peggy Elinor, William Bui kley,
and Edward B. Tilton.
George Walsh enacts a characteristic
role in Dynamite Allen. He
plays the name part with a strenuous-
ness that involves exciting captures
and gallant rescues of the melodramatic
order. This hurricane-like adventure
unfortunately prevents him from using
to their fullest extent his undoubted
abilities as a skilful port raver of charac-
ter parts. 'Hie story tells of a miner
accused of a murder, in reality com-
mitted by his enemies. He is sen-
tenced for life. When his son grows
up he is nicknamed " Dynamite."
How he proves his father's innocence
provides' the setting for many thrills,
in which Edna Murphy, as an appeal-
ingly pathetic heroine, figures. Doro-
thy Allen gives a clever representation
of the paralytic who regains the use
of her limbs through a seeming miracle
Those who do not analyse the plot
too closely will enjoy the clever acting
and skilfully planned climaxes in this
picture.
T 'hose popular stage favourites, Isobel
X Elsom and Owen Xares, figure in
For Her Father's Sake, the screen
version of Sutro's play, " The Perfect
Lovers." Owen Nares is naturally
well-fitted from the point of view of
looks for the handsome hero who, in
the earlier episodes of the picture,
goes abroad to endeavour to forget
the girl whom her father has forced
to marry for money in preference
to his better-looking self. He looks
very serious throughout in a manner
that at times approaches lugubrious
glumncss. But the picture has a vein
of sadness running through it which
suits Isobel Elsom's somewhat pensive
type of beauty. The story is of the
conventional melodramatic type, with
the characteristic climax of the happ)
reunion of the lovers and the death
of the villain.
The announcement of Blanche
Sweet's engagement to Marshall
Neilan will add interest to her appear-
ance in That Girl, Montana. The
story is laid amidst the majesty <>(
forests, mountain torrents, and the
kaleidoscopic beauty of the West. It
is a storv of primitive emotions in
uncivilised surroundings. The pic-
turesque appeal of the picture greatlj
assists a somewhat ordinary stor)
which deals with the struggle-
girl against the persecutions of mei
whose nature is as wild as the SUf
roundings amidst which they livi
A i leverly-produced storm scene figura
in the picture and a spectacular d
down the rapids on a frail can«
l<„nllnuril »i !•■'
JULY 1922
THE- PlCTUR&GOtR
57
Experience Teaches.
With mixing made easy,
the irun running smoothly,
and the gloss giving the
finish, nil users of Robin
Starch are well satisfied.
Experience teaches the busy housewife to
rely solely upon Robin for all starching
purposes because It is easy to mix. It does
not stick to the iron. It contains the gloss.
She knows of other advantages which you
will discover when following her example.
ROBIN STARCH
Sold in l\d. 2\d. Sd. and lOd. Boxt:
RECKITT & SONS, LTD.. HULL
Maktrt ofZtbo Liquid Gralc Polilh,
Bratio, Ztbra Qralt I'olnh, tie.
tM<Mi
<M
"*i&
Eat more
*wtrr&
AF
FTER an evening's
gaiety your skin is
not in a mood to func-
tion properly during the night,
unless you first remove all cream
and powder from your face.
Don't do this with soap and water.
Use Pomeroy Skin Food in generous
quantities and a piece of fine muslin.
This enables the pores of the skin to
do their work of elimination while
you sleep.
Pomeroy Skin Food
2/3.4/9^6/6 a /at
The most famous night
cream on the market
ft all C^tnists and Store:
Mm. Pomeroy, Ltd., 29 Olrl rjnnd
Street, London, W.
"Good Things for Children."
; 1 - - ■> .- ii. en v
I 11 il !;..
■ will In- ill the
iv ho will w int tfi be amused in the
1 away .ii ihc seaside oi country this
iiei ,
DEAN'S
Children's Story
Books.
\\ . wish wc could "show you here ill tin- lovelj covers
he House of Dean quality .
! ingsti :• who would start very
their holidays with one of the follow int;
ns: "A RAILWAY BOOK FOR
GIRLS AND BOYS/ "OUR HOLIDAY AT
THE FARM." "TUBBIE AND TODDIE IN
THE COUNTRY." Rm the best way to -
ksellcr. \ vei
tied in thi
58
THE- PICTUREGOtf3
JULY 1922
The old man of Quebec, " who was buried in snow to his neck," has nothing on Frank
Mayo in his picture "Across the Deadland," except that Frank used sand instead of snow.
Blanche Sweet, in the primitive garb
of the West, shows that she can prove
as attractive on the screen as she has
done in the silks and satins of the
drawing:room in the past.
7>he story of When We Were Twenty-
One is founded on Nat Goodwin's
great stage success that provided such
famous actresses as Constance Collier
and Maxine Elliott with historical
stage presentations. It has been care-
fully transferred to the screen to
preserve its original attractive themes
of charming romance and unselfish
sacrifice. II. B. Warner plays the
leading role of " Dick Carewe," the
unselfish, sympathetic guardian whose
ambition is to see Phyllis F.rickson
married to his ward Richard Audame,
a youth whose main interest in life
is the sowing of wild oats. Warner's
acting is clever, but he carries his
restrained type of screen work a little
too far in emotional scenes, when his
lack of spirit strikes an unnatural
note. Claire Anderson creates a lovable
character in the part of the disillusioned
young girl who has built a castle on
sand in the form of a dissolute lover.
On the screen, When We Were Twenty-
One loses a little of the human re-
flection of the aspirations, follies and
pitfalls of youth which Nat Goodwin
so effectively sketched in his stage
version of the story. It is, however,
attractive, human entertainment.
Florence Vidor presents an appeal-
ing sidelight on the frailties of
human nature in Beau Revel. She
drives home the moral that flirting
does not pay, and her clashes with
Lewis Stone, who gives a picturesque
picture of the beau whose hobby is
the conquering of women's hearts, is
very true tu life. Lewis Stone is the
father who, to cure his son of what
he considers to be an undesirable in-
fatuation, boasts that he will prove
the girl's worthlessness in a fortnight
by making love to her. The fathei
meets his Waterloo, and becomes
infatuated with the fascinating girl,
played by Florence Vidor with her
characteristic womanly charm. This
family entanglement, that produces
a rift between father and son, is
solved by the dramatic death of the
elder man. Clever photography ap-
pears in the picture when the beau
draims of the fair women he has
known, who float before his eyes like
misty visions. Those who admire
Florence Vidor will enjoy this picture,
for it reflects her charm very effec-
tively.
Tod Sloan, the jockey, who was the
friend of kings and princes in
the zenith of his remarkable Turf
career, appears in the film picture,
The Killer. It is a changed Tod that |
we see on the screen, but he gives It,
evidence of the fact that he has not I
altogether lost his cunning in the
saddle. He carries out a spectacular
ride across the desert to secure aid
for a persecuted heroine, and we see :
the old-time crouch that some years •
ago was a by-word on every course
where silk - clad jockeys strove for
racing honours. There is an interesting
story told of The Killer. When it was
first shown in the I'nited States, the
picture is Said to have proved so
blood-curdling that it had to be -
stopped to allow the audience to
" simmer down." It is hardly likely
to alfect British picturegoers in this
way, but it certainly contains an
eerie story inclined to be morbid,
evolving around a ranch -owner who
killed dogs, children, men and women
with calculating coolness, and played
the piano and discoursed on literature
and art when he was not catering
for his lust for the destruction ofi
human life. A stirring picture for
those who like thrills, but hardly the
fare to enliven an audience in any way.
Claire Adams and Frank Campeau
figure in the cast.
Pretty Eileen Percy blossoms out ~~
as an unconventional heroine in ~
The Tomboy. She plays a part that i-
especially suited to her buoyant tem-
perament, and she is very natural
in her presentation of the girl basebal P
enthusiast who unwittingly become; 1 1
involved in a plot to smuggle illicit '
[Continued on page 6o.
QUALITY
AND
FLAVOUR"
OURNYILLECocoa
"(adbury"
MADE UNDCR
Ideal *
CONDITION* fc^
SEE THE NAME
ON EVERY PIECE OF CHOCOLATE.
JULY 1922
THE PICTUREGOE-R
Hair Book
of A dvice
FREE.
Hair Book
iij Advice
FREE.
NATURE'S HAIR FOOD DISCOVERED BY TWO EMINENT SCIENTISTS.
VALUABLE HAIR BOOK FREE.
After many years of laborious experimental work, two scientists of European
ime have made a discovery of enormous importance to all whose hair is a source
•f trouble and regret. They have discovered that the hair cells require positive
feeding — that they need a certain highly-specialised form of nourishment that is
ot obtainable in sufficient quantities from ordinary food. In COMALONGA, the
ame by which this discovery has been introduced to the Medical Profession, they
:ave produced a remedy that, because it contains these special highly-concentrated
utritive factors, has been proved to double the hair-growth and effectually to
.uii-.li all hair disease.
THE SECRET IS YOURS FOR THE ASKING
Send for the Free Comalonga Book to-day. It will explain how a short course of
Comalonga will quickly prove its value to you. By following the advice given the
hair will grow more quickly, it will be stronger and more luxuriant. There will be
no more loosened hairs on your brush and comb — no hiJ.ous bare patches on your
head — no starved, impoverished locks.
If you value your hair and your appearance, don't hesitate. Send for the Comalonga
Book of Advice. You owe it to yourself to take full advantage of this great dis-
covery. Send no money, simpl) . ■ r name md address to —
THE COMALONGA LABORATORY (Dept. C50), 46 & 47, Holborn Viaduct, London, E.C. 1.
'cT/.e Wine for Connoisseurs
TUCKEY'S
TAWNY PORT
Soft velvety old Wine with delicate flavour.
Tht Lancet says: "The analytical figures support the
opinion that this is a wrll-made and sound wine."
Per dozen QQl- Bottles.
SAMPLE BOTTLE POST FREE, 5/6
Cases Free and Carriage Paid.
CHAS. TUCKEY & CO.. Lid ,
3. Mincing Lane. E.C.3.
YOU CAN SEND
YOUR MONEY
with full confidence to any firm ad-
vertising in this journal.
"P1CTUREGOER" gives a square
guarantee. Satisfaction or your money
back. If you don't get satisfaction from
the firm, we will put the matter right.
PHILIP EMANUFL, Aiw tlumtnt Manager,
Odhams Prkss Ltd.,
Long Acre, LONDON, W.C.2.
NEW MUSIC.
As a Special Advertising Offer to readers
of " The Picturegoer," we will send a
10/- Parcel of New Pianoforte
Music (Just Published) for
Post
Free.
Money returned li not satisfied.
IMPERIAL MUSIC PUBLISHING COMPANY,
31, Newman Street, London, W.l.
Queen of
VANISHING CREAM
will keep your skin soft
and white ami free from
roughness and blemishes.
Delicately and exquisitely
perfumed. Try ii to-day.
Obtainable from leading Chemists
and Stores in 1/6 and 2/6
(double quantity) pots.
Attxora Perfumery Co., Ltd.,
Willetdeu lame. N.W.
Imparts the bloom of Youth.
60
THE PICTUR&GOE-R
JULY 192.?
Humid Lloyd gets that morning after feeling
in " (irandma's Boy."
whisky. The chief centre of interest
in the picture revolves around the
vivacious acting of Eileen from Ire-
land She strikes a human chord
when slie illustrates that beneath her
harum-scarum exterior she lias a big
heart, and it is whilst she is mothering
the children of a friend that the
husband, who in the interests of con-
ventionality sleeps in a stable, is
arrested as a smuggler. Byron Mun-
son, as the youthful sportsman and
reporter, provides added attraction to
this good, light entertainment, which
deals with surface emotions, and does
not seek to analyse the deeper senti-
ments
That ever - popular theme, mother
love, pervades the story of
The Greater Claim, which is saved
from being commonplace by excellent
production and most convincing acting.
Alice Lake is very appealing as the
mother who, forced through relentless
circumstances to part with her child,
secures a post as a nurse in order that
she may be near him. Sentimental
romance gets going from the first few
feet of the picture when an irate
father forbids the marriage of his son
with a chorus girl, and the heart
chords are vibrated right down 'to the
final fade-out, when the bronzed lover
returns from foreign parts. He clears
up all the misunderstandings that keep
pretty Alice Lake registering fear and
sorrow through the majority of the
scenes in the picture. The soften-
ing of aj) irate father's heart by a
particularly attractive curly headed
youngster, who has Jackie Coogan's
entire absence of camera fright, strikes
a human note in the story. Others
in the cast are Jack Dougherty,
Edward Cecil and Florence Gilbert.
The convincing acting of Alice Lake
is the main attraction of the picture,
which does not tell a story of any
striking originality, but it is good
entertainment for lovers of sentiment.
In The Gilded Dream it is possible to
recognise many clever character-
isations of people that one meets in
everyday life. This brings a sense of
realism to an imaginative story woven
around the old maxim that true love
is worth more than gold. Carmel
Myers wears many beautiful dresses
as the shop - girl who, receiving an
unexpected legacy, determines to use
it for the fulfilment of her dreams of
marrying a wealthy man. The reform
of a wealthy idler, who makes good
for her sake, provides the excuse for
a thrilling climax when the heroine
is rescued from drowning in a sensa-
tional manner reminiscent of the ex-
ploits of film serial stars. Elsa Lorimer,
Edward Tilton and Boyd Irwin assist
Carmel Myers in. the making of a
notably good cast. A picture essen-
tially for those who like social drama
of a virile type.
DELYSIA'S BEAUTY
SECRET.
In these days of light summer frocks,
when shapely ankles and rounded
arms are so necessary for the attrac-
tive appearance of the fair sex, the
problem of reducing superfluous flesh
becomes even more distressing to the
outdoor girl. Alice Delysia, the
famous French actress, recently de-
clared that the well-known scientific
fat-reducer known as Rodiod had been
employed by her with great success.
" I recommend it to all those who
wish to keep a slim figure, as no
dieting is needed," says this Parisian
beauty, who has one of the most
attractive figures on the stage.
Rodiod, which is a delicate cream
for local application, reduces thick
and unsightly ankles and double chins,
for owing to the science that lies be-
hind its preparation, it removes super-
fluous tissue without leaving sagging
skin or wrinkles.
Those ladies who value their per-
sonal appearance, and who envy
their slimmer sisters, should write to
Rodiod Preparations, 5, New Bond
Street, London, W.i. A postal order
for five shillings will secure you a
supply, and a double quantity can also
be obtained at the reduced price of
nine shillings.
DON'T IMITATE OTHERS.
By Jeamii Maiphlrson.
Cecil B. l)e M tile's special scenaro write)
offers some good advice to would-be authors,
I^he motion-picture market is an
unsteady one ; the public's
preferences change almost daily. What
is popular to-day is worn out to-
morrow. Every good picture, parti-
cularly if it be an innovation, has
a dozen imitators as soon as it is
shown — sometimes before, if some
rival producer happens to be a good
guesser.
Therefore, it behoves the screen
writer to keep abreast of the times if
he would succeed in the motion-picture
game.
The beginner anxious to succeed is
tempted to imitate certain types of
pictures. I daresay there were hun-
dreds of pictures of the order of The
Miracle Man written in feverish haste
by embryo scenarioists, after the
amazing success of that masterpiece
of the late George Loane Tucker,
released by Paramount, in which
Thomas Meighan and Betty Compson
had the leading roles.
When the psychic wave hit the world
after the war, pictures based on this
subject became popular. But how
many hundreds of scenarios written
around the question of the soul's
immortality failed to see the light of
day will never be known.
It is almost like the old saying,
" When you hear of a new book read
an old one." When you see a success-
ful picture, don't go home and imitate
it ; try a different idea. I do not
mean by that to write tragedies because
the comedies are popular, but to be
different within reason. The object
of this is plain : If a picture is a
success, someone has long realised
the fact and already submitted a
scenario along similar lines. You
are sure to be too late — if you are not
" in the game." There are exceptions,
of course, but these merely prove the
rule.
Try to look ahead. That is what
the producers are doing. They are
visualising the future. What will l>o
popular a year from now ? Try to
imagine it. At least get a few months
ahead of the procession, because, after
all, most pictures are not released
till several months after their com-
pletion.
Try to get some experience in
writing. Get on a newspaper. Or
try your hand at fiction first ; short
stories are easier to sell than scenarios.
Then study the medium as best yon
can from the outside. If you can't
get inside, there are books and other
methods of learning the technique.
But nothing is comparable to actual
experience in writing in the studio.
Note that great writers such as Sir
Gilbert Parker, Elinor Glyn, Edward
Knoblock, and others have gone into
the studio in order to learn at first
hand the intricacies of the profession,
JULY 1922
THE PICTUR&GOE-f?
61
Miss Gladys Walton
the beautiful film favourite, says :
" Your shoes are really astonishing value. They
fit perfectly and wear remarkably well."
The secret is the elimination of the middleman. When you buy
from Sellwyns you get really good shoes at factory prices, shoes
that would cost you more than double in the shops.' Not only do
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ALL ONE PRICE
f
ANY 2 PAIBS 16/-
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No. 126.
Double Cross Bar
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No. 127.
Three Buckle Shoe.
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No. 128.
Pretty Tie Shoe.
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ting. Sizes 2 to 7.
No. 129.
Fancy Court Shoe.
A new model. Sizes
2 to 7.
No. 121.
Gibson Shoe,
with low
Style No. 110.
2 to 7.
No. 123
Twin Bar
Refined and
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No. 173.
Todies' Box Brogue
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Two-eyelet Tie Shoe,
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WHO write the thousands of ad-
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A number of TRAINED Advertise-
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their example ? The Shaw Institute
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You Can Earn Money While Learning.
Hundreds of men and women are mak-
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62
THE- PICTURE-GO&R
JULY 1922
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Clara Whipple with her
husband and baby
daughter.
MIDSUMMER MADNESS.
{Continued from Page 40. \
all loves, all human happiness occurred
before his eyes. His fist raised, but
fell, as if revenge could only be as
futile as friendship.
Then slowly he reached a hand to
his hip-pocket and took out his
revolver.
"No ! " cried Margaret, springing to
her feet and grasping his arm. And
she saw as she did so that Daisy was
putting herself between the men.
" I am not going to kill him,"
laughed Bob hollowly. " But to give
him an opportunity of being a man."
He cast the revolver at Julian's feet,
and the latter in mechanical obedience
stooped and picked it up.
" Julian ! " cried a voice, and he
was surpised to hear that it was not
Margaret's, but Daisy's. " Julian !
Put it down ! For . . . my sake ! "
He stared at her in amazement, and
then appealed mutely to Bob. Bob
sneered and turned his head.
" But Bob," Julian protested, " you
do not know. You have not heard.
Yes or no ' you said my answer would
be. Well, you have had my answer —
Yes. But it is no answer at all. You
must hear me now."
He sank back into a chair, an,d,
looking at none of them throughout
his recital, told of the midsummer
madness that had possessed Margaret
and he. He told of their temptation,
but he told too of its conquest — of the
fight that he had put up for Margaret,
and the defence that she had offered
for honour. He told how they had
walked to the brink and turned back,
" One night only we went to that
place," he said. " Once . — and we
came back as we went — I still Daisy's
husband, Margaret still your wife.
And the truth is "
" Is what ? "
" That we are just two romantic
fools, perhaps, but that if there were
just a little more romance in our own
homes — just a little — -we perhaps
should not be driven by midsummer
madness to find it on moonlit nights
in far-away forests. There's been
little enough in our home, Daisy, when
you think of it, and perhaps not all
the midsummer madness was in the
night of that ride to the hunting-lodge.
The very worst way to keep a romantic
husband is to let him — or to make
him — look for his romance over the
hills and far away. And you, Bob, are
you blameless ? Did you ever spend
an hour from declaring dividends to
declare your love for your wife ?
Somebody's going to do it, take my
word for that — and it might as well be
the husband. What do you think ? "
Bob reached across the table and
took back the revolver, slipping it into
his pocket.
" If you could get so near to that
temptation and turn back, I guess that
we all aren't too near to the wreck of
a friendship that we are obliged to
proceed. If there's been a change in
Margaret, it was most likely because
there was no sign there'd ever be a
change in me. Well, we'll see what
we'll see. It's never too late to mend.
Especially when a thing's not broken.
And our little friendship and our little
hearts are not broken yet. Margaret —
my wife — I apologise to you for having
been always a rich man. From now
on I am going to try to be a husband.
And you, Julian, and you, Daisy —
why, wherever can they have got to,
Margaret — Julian and Daisy ? "
" So long as they get to where we
have got to," smiled Margaret, taking
his hand, " what does it matter which
road they take ? "
JIT
,Y 1922
THE PICTUREGOE-R
63
SOME SCREEN SCRAPS.
{Continued from Page i$.)
not ;t boxer ; when it comes to the
fancy stuff he is a trifle slow on his
feet, and does not possess the real
boxer's left hand. I did not like Hart's
fighting in The Aryan — it looked
amateurish : but he more than re-
deemed himself in The Primal Lure
and The Border Wireless. In the latter
he battles magnificently.
William Kussell is a leading screen
scrapper. He has trained with pro-
fessional fighters, and in Pride and
the Man boxes Al Kaufman, a famous
pugilist and sparring partner of James
J. Jeffries, in the latter's palmy days.
Any man who travels half a dozen
rounds with Al when that rangy boxer
means business is a fighter to be
reckoned with.
Like Russell, William Desmond,
hero in Bare- Fisted Gallagher, has
worked with real pugilists. It is said
that handsome Bill made Willie Mee-
han extend himself in a friendly bout,
and Meehan, I would remind you,
holds one or two decisions over Jack
Dempsey, the present heavy-weight
champion.
Another " Fighting Bill " is William
Duncan. I imagine he could give a
good account of himself as a boxer,
though I have seen him in none but
rough-and-tumble frays. His fight in
the snow with George Holt in God's
Country and the Woman is one of
Duncan's best. He lifts Holt as though
George were a child and dashes him
to the ground with force enough to
end most any fight. Duncan puts far
more real fight into the pictures than
do most screen scrappers, and his
" fighting face," in its seriousness and
calm determination, rivals that of
Big Bill Hart.
The setting of a battle greatly
modifies the fighter's style. In regular
ring contests, such as those shown in
The Egg Crate Wallop and The Battler,
the actor must know boxing rules and
be able to " fight clean." It is hard
to tell much about Charles Ray's
boxing ability in the egg crate classic ;
having to play the rube as he goes
along, muffles any such prowess as he
may possess. He does not impress
me favourably as a fighter, though he
stands up well under a severe drubbing.
This fight is well staged, the details
entirely correct, and Referee Van
Court's work particularly good.
One of the best rough-and-tumble
saloon fights ever filmed is seen in
The Flame of the Yukon, between
Melbourne MacDowell and Carl Ull-
man. " Everything goes " in this
struggle, and never have two actors
seemed in more deadly earnest. Mac-
Dowell, as the villain, had to lose ; but
I once feared that he had " forgotten
his lines " — he fought like a tiger.
Plays of the North nearly always
contain one or more good fight scenes
Carmen of the Klondike, wherein
Hershel Mayal and Edward Coxen
battle in knee -deep mud, is a vrr\
good example, and the Rex Beach
plays are even better known in
this respect.
And that reminds us of Mit< hel
Lewis, " Poleon " in The Barrier. \-
the primitive bare-hand fighter of the
woods, Lewis is a champion. He rivals
Doug Fairbanks in the ability to
handle a bunch, and when he lands on
an opponent there is no doubting the
blow's force.
Douglas Fairbanks' acrobatic stunts
are his greatest capital, but, as
matter of fact, he is an expert at
boxing, wrestling and ju-jitsu. It
surely is a revelation to see him
clamp a leg-scissors on one opponent
and hold him helpless while he attends
to another with his hands, as in
The Americano. Doug's most orthodox
scrap is with William Lowery in
Haggie Butts In. His use of the halt
nelson, a popular wrestling hold, in
this fight could not be criticised bv
the best grapplers I venture thai
Bull " Montana, the wrestler-actm
who has worked so long with " the
smile doctor," could tell us of Fair
banks' fighting prowess. They have
had some terribly hot struggles, and
Montana admits that he has usually
taken second honours.
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64
THE- PICTUR&GOE-R
JULY 1923
ENTER A LADY PRODUCER.
(C 'onlinued ,
sense 'if responsibility. The star is
Iways more nr less a marionette in
the hands of a skilful producer
" Smile," he says, and she obediently
obliges. " Now raise your left arm,"
and she mechanically complies His
is the real vital personality that moves
the pawns in the game in accordance
with his will. The greatest directors
I know in the business are those who
possess a power of almost hypnotic
suggestion.
It is only natural that those pawns
in the game w ho also happen to possess
that elusive quality we call " per-
sonality," sooner or later feel the urge
to express themselves with a greater
scope, and usually end by aspiring
to directorial honours. They cannot
always remain content merely to be
the medium of another person's
mentality.
It is not sufficient for them to he a
mouthpiece when they themselves
feel that they have something to
express. They do not want to remain
a cog-wheel in the great scheme of
things.
Their ambition is to create a
work which shall bear in its entirety
the stamp of their own personality.
I'eggy H viand is one of these people.
She is a little slight, girlish creature,
but wonderfully " vital " and mag-
netic, bubbling over with energy, and
yet at the same time also eternally
feminine".
In my own mind, I believe there is a
wonderful unexploitcd field for the
woman film director. A woman's life
is usually made up of trifles, and force
of circumstance has made her naturally
observant.
It is the little trifles of life, the
tiny, tender, human touches, which
count so very much 'on the screen.
Peggy 11 viand, 1 might add, possesses
this sense in a remarkable degree.
For example, her picture closes with
a fade-out, which I. for one, found
distinctly clever and original. It is an
hotel corridor* " He " throws out his
shoes, then delicately places a pair
of ultra- feminine footwear at their
side.
I told her 1 liked that touch im-
mensely, and thought it consummately
done.
" I'm so glad you appreciated it,"
she said joyously. " I took such a lot
<il trouble to get it over. I told Mr.
At t wood to throw his shoes down,
just as though they were the sort of
old things that didn't matter a bit.
Of course, you noticed the tender
little pat he gave the other shoes.
And he managed to make them sort
of lean up against the big, clumsy
male things, as I wanted him to do
Don't you really think there's a world
of expressiveness just in inanimate
things ?
I gathered that Peggy's first days
in her unfamiliar role nearly scared
her stiff.
Why, most of the actors," she
said, " had had ever so much ex-
perience. It seemed almost pre-
sumptuous to tell them how I wanted
things done. But they were ever so
nice about it. Sometimes I felt a bit
ridiculous. 1 found myself standing
beside the camera ' registering ' all
the emotions myself that I wanted
the others to feel."
I reassured her by remarking that
I had seen much the same thing done
in the very best comedy circles, so
she supposed it was " all right."
" And, perhaps," she owned with ;i
laugh, " it's the only way."
When you say that Peggy not only
directed this comedy herself, but also
acted the principal part, you've not
covered her entire activities by a long
way. I admired the very pretty
interior " sets," and she confessed
that she had designed them all her-
self.
She likes a pretty hall-way viewed
from an unusual angle, and hates
that old - established custom of
photographing things in " any old
corner." That is why she has pro-
vided her picture with really dis-
tinctive backgrounds, refined sur-
roundings, and some almost priceless
antiques.
And you know how the public
always " falls " for the " pet animal."
In America, they call it the " Mickey
Neilan " touch, because it was that
director who first realised the appeal
of the* " dumb friend." Peggy is just
crazy about dogs, so, of course, in
With Father's Help, there had to be a
West Highland terrier, one of . the
most intelligent animals you ever
saw.
Hl.SIE Couu.
MOVIE MOTHERS.
(Continued from Page 37.)
to eventually ma.ke enough money to
buy back the old home and carry —
literally, he picks up his mother and
carries her like a baby ! — back to the
old home nest in which she had given
the best years of her life.
Mary Alden, " the plain girl of the
movies," as she is often called, " gets
over " the silver sheet, and tugs at the
heartstrings of her audience by her
clever mother portrayals. Those who
have seen her in The Old Nest, and
The Man With Two Mothers, know
how abundantly she proves that per-
sonality without beauty will work far
greater wonders than skin-deep beauty
with no character back of it.
Among the many screen actresses
now- appearing in " young' mother "
roles, first place must be given to
Ethel Clayton, to whose credit stand
a large number of delightful charac-
terisations of voting maternity,
Anxious to specialise in such parts is
also Helen Jerome Eddy, another girl,
who, like Mary Alden, relies on her
(lever acting rather than her looks
for her fame. In The Woman In His
House, Mildred Harris shows excep-
tionally talented work as the " neg-
lected wife," and the mother of the
cleverest little baby imaginable.
One would hardly expect that one
so young as Mary Miles Minter would
shine in maternal impersonations !
Yet, in All Souls' live, she plays
motherliness in triplicate, and with
great sincerity ! Playing a dual role,
she appears as the Irish nurse,
and also as the baby's mother
who, victim of. a plot of jealousy on
the part of another woman, is criiellv
murdered. Later, Mary marries the
sculptor father of her tiny charge —
and so becomes the baby's step-
mother. .
No description of movie mothers
would be complete without mention
of the artistic triumph of the " World's
Sweetheart"— Mary Pickford in Littli
Lord Fauntleroy. This is also a dual
role film, and Mary, following her
usual custom, plays a child's part,
that of " Cedric," the lovable, cour-
teous, but thoroughly boyish little
Karl-in-embryo ; and is, in addition,
a beautiful " Dearest," the gentle
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THE PICTUR&GO&f?
JULY 19a
T DO Yi
I THINK there are only four
great film actresses at present,
Nazimova, Pauline Frederick, Mary
Pickford, and Norma Talmadge.
Also I think it is
The Famous a pity so much
Four. money is wasted
on the production
ol costume films. With a very few
exceptions, they are never as effec-
tive on the screen as modern
dramas."— -Picturegoer {Batter sea) .
T*HE other night I was present
■*- at a film version of the
famous song. ' The Bonnie Banks
o' Loch Lomond,' and the picture
moved the audi-
. I nother Injustice ence to laughter.
to Scotland. The young High-
land girl was
dressed in a garb more reminiscent
ol a music-hall turn than anything
else a kilt, high ruffled stock, plaid,
cairngorm brooch and feathered
bonnet all complete. And in this
k'uise she was treading the historic
shores of Loch Lomond ! Again,
tlic attempts at dialect were lament-
able, for I have yet to meet the
Highlander who says, ' tae gae.'
At one time we were told that they
stood on the steep, steep side o'
Ben Lomond,' and this when that
towering mountain was distinctly
facing us across the loch ! This is
not the first time I have been jarred
by such ridiculous errors, and it is
surely more than time that the
beautiful scenery and romantic
stories of Scotland were filmed, not
by an Englishman, who probably
has never lived across the borders,
but by a Scot who knows what he
is doing. 1 am sure that many of
your readers particularly those liv-
ing north of the Forth — will agree
with me." M. Robertson (Dun-
fermline).
NO one can deny that the
kinema industry is progress-
ing— mechanically, at any rate.
The men in the laboratories are
doing their bit.
Are We But if the photo-
Progressing ? play is a new art,
it has not yet
found a master. The masters of any-
art are not those who have made
piles of money by the skilful way
in which they have pandered to
the public taste, but those who
through their life have devoted
themselves to their art unselfishly,
striving all the while not after
public distinction, but after what
they consider best in their art." —
R. S. Morgan (Stockwell).
ET me say that English pic-
1^
turegoers are, to use a com-
mon phrase, ' fed up ' with American
pictures. I greatly admire Swedish
films, but we only
Putting A merica see one about once
in Her Place. every six months.
Some of our Eng-
lish films are excellent. Several
years ago, if we saw an English
producer's name go on the scre'en, we
would settle down to what we knew
would be poor entertainment ; but
now it is the reverse. American
films on the whole are exceedingly
light, but boil them down and you
get very little left. They are mostly
pretty, but more like a dress parade
than a play." — 5. Wolf (London).
I THINK the filming of famous
novels, etc., has been a fine
thing, since practically everyone
reads books, and nothing is more
enjoyable than to
In Defence of see one's favourite
Filmed Novels, characters actu-
ally come to life,
as it were. 1 think also that one of
the most important things in a film
is to have all the sub-titles abso-
lutely clear. Nothing is more annoy-
ing than for a letter or telegram
of great importance in the story
to be absolutely unreadable, as very
often happens." — A. H. Roberts
(Ilford).
" T HEARTILY agree with * Bes-
-*- sie ' (Hull) in saying that it is
indeed a blessing the ' Twelve Far-
num Fans ' have nothing to do with
editing the ' PIC-
A Bouquet TUREGOER.' I
for Wally. myself am a flap-
per, and I adore
Wally. All my friends, both male
and female, old and young, admit
that Wallace Reid's films are so
delightfully clean and invigorating,
that it is a sheer pleasure to watch
them." — Wally Fan (Rutherglen) .
NOW for. the discussion re
' Wally Reid v. Farnum
Fans.' I shall always praise Wally
simply because of his happy-go-
lucky style and
Effecting a Com- youthful air al-
promise, ways retained in
any of his pictures.
He is always pleasing, and I venture
to say he would make anyone laugh
who had the gout. William Farnum
I regard as an unrivalled character-
actor. I shall always speak highly of
him. Any picturegoer, I feel sure, who
has seen such films as Les Miserables
and Tale of Two Cities must admit
that Farnum is a character-actor
far above any others. I have always
found that Farnum is just as popular
as Wally, and give equal praise to
each."— D. E. M. (Poulton).
I WOULD like to give you mv
opinion on what stars I think
would be suited to act opposite
each other. Alice Lake and Ivor
Novello would
What Do You make an ideal
Think? screen couple.
Norma Talmadge
and Matheson Lang would make
very successful
picture to-
gether, and
there are others
who would pair
well on the
screen." — Ideal
Couple (Glas-
gow).
Perhaps "PIC-
TUREGOER "
readers would like
send in their ideas on
this subject. Address
' The Thinker," 93.
Long Acre, W.C.2.
I
UGUST 1922
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PRINCIPAL STUDIO 129,
* | Nunc , |
ASSOCIATED FASHION ARTISTS, |
II, New Court, Lincoln's Inn. W.C.2. L^LZZZZZTZIj
THE MOTION PICTURE
STUDIO
The only Weekly Journal devoted solely to the interests of British Film Artists,
Producers, Camera-men. Scenario Writers, etc.
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Pictures and Picl-\JKe$ueK
AUGUST 1922
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Pictures and PictureOuer
C a N II v r V .
IKON I ISP1KCE Betn Blvth.
AN Al GUS1 Dl VIO
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I '
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N II NO I ,\ IIINM 1
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CHASTE s\l I us
HAPPY I Hf> MAKKIII)
II,. tn.ts anil ftlmiitm.
STUDIOUS SIAKS
THE MAN OF MANY H ACES
/ i Chancy mash * < ' inakt -uj
HKI nsii STI l)l<> GOSSIP
I' K.I I K E G O N A K I
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IT. A l I
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-4 V PIT LING PICrURES
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PicF\JKes and PictureOver
AUGUST 1922
BETTY BLYTHE
Of "Queen of Slnh, i " fume, was born' at Los Angeles
in IH9.1, so she just had to become it movie player. She
is 5 ft. 7 in high, and has dark luiir anil blue eyes.
AUOUJ1 I7ZiS
ricr\Jrub anu r i<-i w/- ev/uc^
PI CTU RES AN D
TH& PICTURErCO&R
"T M & 5CR&EM
I M
VOL. 4. N0.20. AUGUST 1922
Editorial Office*:
93, Long Acre, London.
Registered for Transmission
bu Canadian Magazine pott.
Ar\
Avi^visl"
W"
"ednesday, August 3, 1920, was
a tragic day in the history of
screen stuntists, for Ormer
Locklear, the dashing young
American Lieutenant, lost his
lite attempting a more than usually daring
feat. He was working on a Fox feature
film when his aeroplane crashed and fe
to the ground.
There was a distinct boom in the sale
handkerchiefs at Syracuse, N.Y., on Tuesday, August U,
1913, when every matinee girl in the town cried and refused
to be comforted. The cause of all the woe was young
Harrison Ford, the idolised leading man of the Weeking
Theatre players, whose last performance there was due to
take place that day.
On Monday, August 8, 1893, the stage manager of
the Schiller Theatre, Chicago, commanded Theodore Roberts
to shave his moustache off. Theodore was due to play
"Scarbrow the Indian " in " The Girl I Left Behind Me,
and it hurt him to part with his hirsute adornment. But he
did it, and took to chewing cigars instead. August, 1923,
finds him again bare of lip, this time for film purposes ;
they :e starring him in "The Old Homestead.
Anybody who paid their admission money could have
seen " Officer 666,'' playing at the Gaiety Theatre,
Broadway, New York, on Monday, August 19, 1912. In
the principal roles were a dashing youth called Douglas
Fairbanks and a sweetly demure ingenue called Vivian
Martin. Neither had thought about movies then, but what
would not picture fans give to have the chance of secng
Doug and Vivian in a play to-day ?
On Saturday, August 27. 1919. "The Miracle Man "
was shown for the first time in New York. It opened very
unostentatiously indeed, but its run was the second
longest in Movie history and it " made three people
the late George Loane Tucker, Betty Compson, and
lorn Meighan.
I
K/chard
~Barthe/mess
./>►
10
Pictures ar\d Picfurepuer
AUGUST 1922
Hideous old hag you called mi-
Take a look at me now.' It was
flirty faces tame wealing Face
iking quite human fur once in a
little girl, saving
last tune we met.
Elsie Prescott, of
Number 17, and
way.
Sir Hans Sloane built Sloane House at Chelsea in
the centre of a lovely old-world garden, thus providing
the movie-makers of posterity with one of the most
delight ful locations it is possible to imagine. And mi
tin- i\.{\ of my visit, lords and ladies, resplendent in
eighteenth-century attire, wandered to and fro along
the old flagged paths, blending with a background
that had been built as a frame for their butterfly
beauty It was a charming scene, and gazing at it,
one felt the intervening centuries rapidly slipping
away, until an anachronism in white flannels spoilt
the illusion by remarking " 1 think I'd better have
my megaphone for this scene. The folks at the back
can't hear."
As becomes an incorrigible optimist, J Stuart
Blackton wears white flannels through the length and
weth of our English summer ; but his
optimism was justified on this occasion, for
the day was incredibly fine. In the soft,
silky tones of a man who has unlimited
good nature to draw .upon, he coaxed the
players in the direction he wanted them to
go. And when he said " Lift " and they never
lifted, he merely tutt-tutted, and obligingly
explained everything
m$
eorl<
C^rp
erxtier
5tuart the Star-Maker, whose other
name is Blackton, believes in
latching them inexperienced, am
training them in the way they
should act Starting with Norma
I Talmadge, in her schoolgirl days,
he lias passed down the movie
ages collecting stars en mute, unti"
he has a nil he 111 his museum for
nearly every screen celebrity you could
name. From the left as you go in, you
will find Lady Diana Duff-Cooper (from
a life-size word-painting by Felix Orman),
Clara Kimball Young, Fade Williams,
Johny Bunny, Florence Turner, Flora
Finch, Anita Stewart, Mabel Normand,
Tony Moreno, E. K. Lincoln, Harry
Morev, Wallace Reid, Larry Semon, and
a pageful more. 1 am not there at present,
hut should I reach those sublime heights,
it won't be because of my ability, but
because J. Stuart Blackton is so darned persuasive that
coax a mushroom into registering emotion
Which brings us to the latest exhibit in the Blackton museum of
hand-made movie stars, No. 733, M Georges Carpentier, of whom
perhaps you may have heard, lint what you have heard of him in
the past is nothing to what you arc going to hear of him in the future,
when Felix Orman gets properly into stride.
There were umpteen office matters that demanded immediate
attention, and there was a cordial invitation to spend a day at Sloane
I I. nisi watching Carpentier at work. What did I do?' You arc a
good guesser. ' There will be fifty pretty girls in the scene," wrote
Felix in his persuasive way, so, of course, I just had to go to see if
he was Speaking the truth.
He was. I had counted to forty-nine, when up came another
AUGUST 1922
Pictures and Picf-\jreQuer
11
" Just look at those two skirls I " broke in the indignant
voice of Mrs Blackton. " Sitting down in their crino-
lines ' " Ami olt she bustled to avert a traged)
Vou would like Mrs Stuart Blackton. She is a feminine
edition • of her good-natured husband, and the mother,
god-mother, big sister, and guardian angel of every
player, star or extra who crosses the threshold of the
Blackton studios. When J. S B. is on the floor, she works
indefatigably as his assistant, and her smile would disarm
a Bolshevik
The only sad thing about the studio is the shyness of
deorges Carpentier He is just a great, big boy, entirely
unaffected and unspoiled, and he is terribly shy in the
presence of strangers As an actor he is shaping in great
fashion, for he possesses the power of concentration, and
he never needs telling twice how to play a scene. But
it was not until Mme. Carpentier arrived with Baby
Jacqueline that he really came out of his shell and
lumped happily on the lawn.
Flora l.t
Breton
in a
dramatic
-.< ene.
When we adjourned for lunch. I secured a seat
between Flora Le Breton and Violet Blackton, and
gleaned some details of the prodm tion. The picture is
>ased on " My Lady April," by John Overton, a stirring
novel of the eighteenth century. Carpentier is seen in
the dual role of " Valerius Carew." an exquisite, and
" Merodach," a boxing gip.^v; and p'lora Le Breton, as
Dorothy Forrest," supports the star Others in a
remarkable cast of over 500 include Sir Simeon Stuart,
William Luff, Charles Blackton, Nell St, John Montague.
Norma Whalley, Mary Clare, Rex McDougall, Hubert
Carter, A. B. [meson, Percy Standing, Henry I. a timer,
Ronald Buchanan, James Fnglish, and Rosalie Heath.
The title for the film is not yet 1 ted.
" I am learning French and swimming in my spare time,"
Flora Le Breton confessed. " I have to be nearly drowned in one
of the last scenes in the film. They are taking that scene last of all,
in case of accidents."
Everybody at the studio calls Flora " Rosemary " in memory of
her role in The Glorious Adventure. She is a very vivacious little lady,
with a remarkably healthy appetite for one so tiny.
" Be careful, ' Rosemary,' you'll get fat," warned Mrs. Blackton
every time the little star helped herself to potato salad ; but Flora heard
the warning twenty times without worrying. And talking of eating.
reminds me that Violet Blackton, on my left, had demolished one hundred
and seventeen cherries before I gave up counting. I know I shouldn't
mention these things. It isn't good form. But it's good copy.
About the middle of lunch that grand old man of the movies, Felix
Orman, whose sixty-three years lean very lightly upon him, a/osi
remark: " Ladies and gentlemen, please excuse I can't eat another
ite until I have seen how my children are faring . " Then he went out,
ostensibly to see if the extras were being fed properly But it's my
private belief that his real mission was to refresh his tired eves with a
eep at the Felix Orman Beauty Squad. It's a wise casting director
who knows Ins own selections when they are dolled up in white wigs
and 1 rinolines ; but Felix can call everyone on the floor by name
Speaking of wigs, reminds me that Willie Clarkson dropped in during
filming operations to see- how the "wigs and costumes by Clarkson"
ooked on Felix's selected. He was more than pleased with the tableau,
us one complaint being against Carpentier, who will fuzz out his gipsy
iair.
" It should be worn combed out straight," lamented Willie Clarkson,
in the null' of a man who has a great sorrow in his life
Still speaking of wigs, reminds me that Strange Occupations in Studio-
'"'■ N'o 373, i-, occupied by one of Bla< kton s employees whose mi;
it is to go round till' set with a pocket-comb, combing out the wigs of the
lyers before the camera starts to turn. I should like a job like that.
12
Pictures and KictxjreOver
Three
Pa$e5
Two of which have reference to the third Jean
Paige, of Vitagraph fame.
life as a serial heroine," remarked
Jean Paige, smiling up at the
larger-than-life-sized portrait of
herself that hangs on the wall
of Vitagraph's London office,
" lasted exactly seven months. It
was my first and only serial, and
I enjoyed it immensely.
I'll ever make another."
UJfb
AUGUST 192:
Jean looks shy —
and she is.
don't think
With Joe
Ryan during the
filming of a serial
" Why did you do it ? " I queried.
"Mr. Smith asked me. 1 had been offered
the serial twice before, and refused each time.
And so I thought I'd try."
Jean Paige was not Mrs. Albert Smith in
those days, though the President <>f Vitagraph
has always taken an unusual amount: of
interest in the career of the. girl with the big
grey eyes. He hail her in mind when, with
Cleveland Moffett, he wrote the scenario of
Hidden Dangers, with all its nerve racking stunts.
" I didn't quite realise what 1 had undertaken
until we were fairly started. After thai well,
my father often used to say ' Never commence
anything you can't finish.' And I was quite
sorry when we had finished the very last
episode."
There was a synopsis of Hidden Dangers <>n
the table. Jean Paige's delightful, half shy
smile broke forth again as she recalled more of
Iiei thriUful experiences.
AUGUST 1922
Pictures ar\d Picture $oer
13
A scene from " Black Beauty," one oj
Jean's screen successes.
" We went all up and down Cali-
irnia, amidst the loveliest scenery
ou can imagine. Camping out for
eeks and weeks at a time, something
am very, very partial to. And Joe Ryan (the very
icest man and a wonderful athlete) used to tell me
II about his early days when we sat by the camp
re at night. He's a real cow-puncher, Joe ; and
is impressions of Denver, the first city he ever
iw, are the most comical thing.
I was kidnapped in nearly every episode,"
le continued. " I was thrown into a fiery
mace, and imprisoned in a burning church
id a burning lighthouse. Another time they
rugged me and screwed me into a coffin. I
|as chased by maniacs with knives, chased
;,• a bear and a bull (the last wasn't in the
[enario, though)."
I shouldn't have suspected dainty, gentle-
need Jean Paige of anything so strenuous,
ut she recounted her past perils with
en enjoyment. /
the bull, you must know," said
e, " had been photographed charging
KJut with a dummy fastened upon his
rns. Then, wearing a dress exactly
e my ' double's ' (it was a blue-and-
lite spotted affair), I had to lie
wn, where the bull was supposed
have tossed me, for a close-up.
" Just as we were all ready lo
hoot,' Mr. Bull came round a corner
a terrible rage, and made straight for
I suppose he remembered the dress.
yway, I ran for my life. You can run,
ten you're frightened, you know. They
Id a kind of fence ready to check my
J-rsuer's career when necessary, and,
I ling myself near to it, I climbed over in
double-quick time. 1 found the onlv nail on the top,
and left a piece of myself and my stocking on it.
" Another time we were filming in the mountains,
and I had to escape from a house and let myself down
some sheets tied together. It was risky, that, because,
though the others were perched upon different corners
of rock, nobody was very near me ; and before I was
half-way down. I felt my improvised rope beginning to
give way. The material evidently wasn't as strong as
I was ! There wasn't anything to do but keep on and
trust to luck. But the others heard the tearing noise,
and were dreadfully alarmed. Just as I was nearing
the ground there was another ominous r-r-ip, and a
man standing by rushed right into the picture ready
to catch me. We had to cut out those few feet of
film, and put in a close-up of me clinging to my ' rope.'
Leaping from the vane of a burning church and
climbing up a rope into an aeroplane was easy," she
mused. " But though I've ridden all my life, I found
leaping from horseback on to a passing train wasn't as
simple as it looked on the screen afterwards. Any-
how, I know I grew very bronzed and fit, and put on
weight over it."
She came into screenland on July 20, 191 7, she told
me, at Vitagraph's Brooklyn studio, and was lucky in
commencing quite near the top. For Martin Justice,
who took a test of her, did not wait to see it, but
cast her for second lead in Blind Man's Holiday, one
of the many O. Henry stories Vitagraph filmed.
Very much like Jean herself are the lovable, thoroughly
wholesome heroines she portrayed during her years
of screen life.
My favourite O. Henry film," she averred,
was The Skylight Room, my first star picture."
They thought the story almost too slight for a
five-reel film ; but the scenarioist, a personal
friend, re-wrote it round Jean Paige herself and
her own winning personality. Born and brought
up on a model farm at Paris, Illinois, Jean
spent all her spare time in the open air. Riding,
swimming, attending cattle shows with her
father (a noted breeder of pedigree stock), or
vieing with her two brothers in athletic
pursuits, she knew nothing about films
until she was through college and study-
ing elocution with a view to a stage
career.
Her own name is — or rather was —
Lucille O'Hare, and she looks exactly
like her photographs, only fairer. Her
hair is light, not dark brown ; and she
has clear-cut features and most ex-
pressive grey eyes. Since her mar-
riage to Albert E. Smith in 1920, she
has spent more time- at home than at
work ; but she has by no means given
up filming. During their present trip,
which included a visit to Paris, several
stories have been acquired for her
future use, and we shall see her in some
Vitagraph specials later on in the year.
" The same kind of stories as Black
Beauty, which I love," said Jean. " I
still have several of my dresses from
it. They are so pretty, I can't bear
to part with them. The Prodigal
Judge, too, is an old-time story."
" It.'s a risky business, making
serials," I said, as I wished her " Good-
bye and bon voyage." " I think
you're wise in resolving to make your
first your last."
" When one's very happy," she said,
glancing at her husband, "one thinks
twice before running into danger. "
I'm certain he wouldn't allow her
to do more than think about it \nd
he's perfectly right . j 1..
14
Pictures and Picture poer
AUGUST 1925
had been such
a busy Kinney
that I had all
bu1 given up the
i hase alter the
fourth attempt
■to arrange
meeting ; but wc
finally fixed it
over the 'phone.
" At the Hotel Cor
ing," said Constance.
Ebury Street. You
know it."
And a kind friend
arranged to " drop me at Ebury
Street." And did so at the wrong
vnd. Leaving me with a damp,
damp, walk before me.
At the end of the trail was a cosy
little hotel lounge, and a tiny, friendly
hand outstretched in greeting,
She had only just returned from
location," where, to use her own
words, " We sat around for hours
and waited for the sun. Hut they
were the final ' shots,' and I'm sailing
for home at the end of the week."
Of course, we discussed A Bill of
Divorcement, the film which had
brought Constance three thousand
:N.B:Nut&BiiAf\ey;t:
Being an interview with Constance Binney, who came from America to
play in "A Bill of Divorcement," produced by Denison Clift.
miles to play " Sydney Fairfield."
" I saw the play in New York,"
she said. " With Katherine Cornell.
And I was more than delighted to
have the part. ' Sydney's ' a won-
derful character. Don't you think
so ? "
This film " Sydney " is first seen
at the age of thirteen. " Xot in the
play ; but introduced, by consent of
the authoress, into the screen-play,"
Constance confided. " No. Not my
first little-girl part, by any means.
Mv first star picture, Erstwhile Susan,
made me into a quaint-looking Penn-
sylvania Dutch girl called ' Barna-
bei ta ; And mv second
The Stolen Kiss, sent
me back to socks and
' Mary Janes.' I was a
child of eight, the child
when she was eighteen,
and her mother, age
rtv-two."
I >oul)le exposure ?
azarded.
Constance nodded. She
is tiny and demure-hole
ing, with her wide-apart
blue eyes and prettih
curved mouth. The
perfect ingenue. I told her so, and
she seemed to think it a pity.
" Yes. That's what everyone used
to tell me when I wanted dramatic
roles," she exclaimed. "But I used
all my powers of persuasion, and my
last few film stories are. much more
to my taste than airy trifles like
Board and Lodging, The Stolen K\ ■
and First Love."
Erstwhile a Realart player, now
that this company has been abs
into Paramount, she hopes to have
better and better stories in the
future. But first she is due to appeal
on the stage again.
Constance
l!nun\ in
dramatic s
from "A
of Divorce-
ment"
AUGUST 1922
Pictures and Picture Over
15
Though
has iii'vei
staye<
■■ And
had to
In a play with mush in it said Constance,
ii is mil musical comedy."
In her very simple'little golden-brown tweed suil that
just about matched her golden-brown hair. Constance
is no stranger to London, although she
worked on this side until now
" I was about seventeen when I first
here," sin* remarked, with a charming smile
I'll always remember my visit bee, i use I
undergo an operation. 1 was on my way to school
in Paris, and I didn't see much of London No
more than one does see from the inside of a nursing
home."
She looks so very young that ii was sur
prising to learn that she is two years older
than sister Faire, whom she left behind in
New York playing "Sally" in the well
known musical comedy.
" I've missed her so much, for, though
we have never worked together since
our first film (Sporting Life), we
always play together. Though
ol course, I feel years and years
older than La ire ; she's such a
child."
She doesn't look it, anyway.
The two pretty sisters hail from
Boston, though New York is
their birthplace, and trace their
descent from a long line of New
England ancestors ; but Constance
was the first to win fame on the
stage. A delightful singer and
dancer, she was the bright par-
ticular star of some amateur
theatricals when Winthrop Ames,
the well-known producer, hap-
pened to be amongst those
present, and he
a tiny part in
to Monday."
"It was a case of
proposes, but Father
poses,' " she recalled,
late father was very,
offered her
Saturday
Man
dis-
" My
very
Two widely diversified
studies of Constance
llmney.
" Oh, Lady Lady "
her. This musical
against my doing such a
I did accept his offer, though.'
There's a hint of— well, let us
call it great decision about Con-
stance's square little chin. I'm
not surprised she managed to carry
out her wishes. Solo dancing in
followed, with much success for
show ran for many months ; but Constance Binney's am-
bitions did not lie that way, and a welcome experience in
a film studio, when she and Faire made their first bow
to the camera in Maurice Tourneur's Sporting Life, came
next .
We had a great time," she observed softly. " I
particularly enjoyed my second film, when I played in
I hi Vest of Honour with Jack Barrymore."
We compared opinions of Jack Barrymore, and his
stage and screen work for a few* moments, and then
discussed New York studios versus Californian. Con-
stance prefers working in New York. 1 believe she
has more friends there than in Hollywood.
1 spent most of my spare hours at Pasadena, when
1 was on the coast," she said.
Next ensued a stage success in " 39 Fast " : this
was afterwards filmed with Constance in the role she
created in New York ; and her life has been one film
after another for the last year and a-half.
We delved quite deeply into the psychology of
Sydney Fairfield," as I commandeered a few "stills"
of .1 Bill of Divert . ment.
I think I am quite a plump person," she laughed.
But just look at these. I'm quite gaunt in this one
with my film mother, don't vou think? Constance
Skinny instead ol Constance Binue\ But you don't think
of her appearance at all." she said after we had thoroughly
dissected ('lenience Dane's seven teen -vear-old hero 'A'
least, / don't . It is more the character of the gul
(such a tomboy at first) and her strength of mind
that make her s< , wonderfully interesting." I
disagreed I thought the pictured Sydne\
charming in her many prctt) frocks,
said so.
I hope she'll be all I've tried to make
her," Constance mused, seriously ' I should
early like to appear in another C'lcmence
Dane film or play. She has another, you
know, and I hope to take the MSS bai k to
New York with me when I j^o And
now." with a mischievous glance at the
mantelpiece, " I really must rush ; for,
look ! fli, a clock says it's hall-past
ten." 'fhe clock was a hotel clock,
and wasn't going ; but Constatu e had
to i hange yet . she sal 1. for she
was going to " Tons of Money
to-night .
And so she (lit ted away, this
first American star to come ovei
spci lally to play for an All-British
Concern. Let's hope she'll ( nine
again some time.
10-11. 1'. LEDKRER.
much
thing.
16
Pictures and Picture $ber
Chaste
Salutes
A few words on screen kisses. +^^
AUGUST 1922
strated in the studies of Buck Jones
and Tom Mix Wc award the medal
to Buck Jones. A big, husky fellow
like Tom Mix should be ashamed
of himself to kiss a girl in that
fashion.
Although William Farnum is not
too bad, Niles Welch reveals a
horrible example of wasted energy.
And if D us tin Farnum doesn't hurry
up and decide to kiss Mary Thur-
man, the seven feet will be finished
before their kiss commences.
After all, screen kissing is an art
unto itself, and Art must not be re-
stricted. Remember, too, the educa-
tional value of the movies. Lovers
must learn.
The seven-foot kiss must go !
In these days of ambitious mini-
mums, no self-respecting picturegoer
can be content with such a. meagre
allotment. Let us be firm in de-
manding our legal rights, so that
in after years we may " remember
their kisses, when we have forgotten
their names ! "
William Farnum and Myrtle Ilonillas,
Duck Jones and Eileen Percy, Tom Mix
and Patsy Miller.
rT>hat last, long,
lingering (lose-
up dear to the
heart of the picturcgoing
flapper is not so lingering
as it used to be. Unless Mac
Busch and Richard Dix carry
out their threat of introducing
a two-hundred-and-forty-foot kiss
into The Christian, the art of pro-
tracted osculation seems likely to die
out so far as the screen is concerned.
Some American censors have decreed
that no screen kiss should exceed
seven feet in length — seven feet of
film, that is to say. It sounds quite
a liberal ration, but it isn't, really.
A seven-foot kiss is an " If so early
I was done for, what on earth was I
begun for ? " sort of kiss. It may
be a promising kind of kiss, but in
performance it lacks finish.
Take a look at Stuart Holmes in
the picture on this page. It is from
his latest film, The Prisoner of Zenda,
and it reveals the melancholy fact
that this bad man of the movies has
become a follower of fashion. Stuart
Holmes, champion of male vamps,
reduced to bestowing " kisses of
renunciation ! " It is very sad. Shed
.1 tear and pass him by.
Kissing then and now is demon-
Niles Welch and Elaine Hammerstcin.
Dustin Farnum and Mary Thurman.
AUGUST 1922
Pictures and Picture poer
17
:
o suggest that the
alliance of screen stars
brings a new spirit of
comradeship and un-
derstanding to mar-
riage is not altogether
straying into the fanci-
lul realms of idealism.
For there arc few
classes of the community
where husband and wife are
> so closely associated in their
work. The wise men of past generations
have said that a man who has the help
and sympathy of his wife in his career
is sure of success. Carry this parallel
into filmdom, where you will find the
big men of the studios working for
hours beneath the arc-lamps with
their beautiful wives, and there is
represented the higher and wider
meaning of comradeship that inspires
successful careers.
In other directions there is much
to make for the happiness of those
who are betrothed amidst the atmo-
sphere of the film studios. There is
money in lavish quantities with which
to gild romantic dreams, the pic-
turesque rose-covered bungalows of
the Californian hills as the settings
for those whose interests have drifted
towards a sentimental appreciation
)f life, and there are the cloudless
3lue skies and wooded hills and
/alleys that are akin to a lover's
Jaradise.
Many of the happiest marriages of
ilmdom matured before the cameras.
" I .admit that I fell in love with
3obby at first sight," Mae Murray
A*ill tell you when she talks of her
iomance with big, handsome husband
'Robert Z. Leonard. She was playing
Itl The Plough Girl, with Elliott
,)exter as her leading man, when this
i'Utterfly of the screen determined
!hat away from the studios she would
Happy
Tno'Mam
The misalliances of filmdom receive full
publicity, but the happy marriages do
not get the credit that they deserve. Yet
thousands of screen stars are " happy
tho' married." Here are some of them.
find in real life much of the romance
that for so long she had been pic-
turing on the silver-sheet.
Now Mr. and Mrs. Leonard are one
of the most successful partnerships
in the film world. They have their
own company, and big Bob directs
his fascinating wife in all her films.
That these pictures, which include
Peacock Alley, have proved to be
such successes is largely due to the
fact that they have been built up
on the basis of a sympathetic under-
standing between the star and her
director — a comradeship that inspires
true dramatic expression.
They spend hours together working
out striking costumes and lavish set-
tings to frame the fascinating, flitting
figure of the girl wife who is so de-
pendent on her husband for the
startling effects that have made her
pictures famous. Mae Murray even
relinquishes her feminine traditions
where the choice of clothes is con-
cerned by allowing her husband to
trespass into the kingdom of her
sartorial splendour. Robert Leonard
designed for his wife the gown of
silver cloth ornamented with tiny
Mr. and Mrs. Sessuc Hayakawa.
carbon lights that glittered like
jewels on the screen in the
bubble dance in The Gilded Lily.
He is responsible, for directing
his wife's natural cleverness in
selecting artistic costumes into
those channels that render
possible the greatest dramatic
and scenic effect before the
cameras.
On the subject of marriage, Florence
Vidor has very decided views.
" 1 believe that it is almost im-
possible for any young unmarried girl,
from the psychological standpoint, to
be a great dramatic actress," she said
recently.
Florence Vidor is one of the most
ideally happy girls of the Californian
film colony. She has been married
to her author-director husband, King
Vidor, for seven years. Practically
most of her period of stardom has
been during her married life, and she
is of -the opinion that a woi.ian who
is loved is more capable of expressing
life in its higher meaning than a
" butterfly " who flits from one ro-
mance to another and stirs little but
the surface emotions.
Because the marriage transpired in
a manner suggestive of the story
books, the alliance of Priscilla Dean
with handsome Wheeler Oakman is
none the less happy. Oakman de-
scribes, with a twinkle in his eye, that
he became a Benedict because when
he asked his leading lady, for camera
purposes, to marry him during the
filming of The Virgin^ of Stamboul,
she insisted on taking him seriously.
The truth is that when the expressive
dark eyes' of Priscilla Dean first gazed
into the reflective, hazel eyes of
Wheeler Oakman, Cupid flitted into
the glare of the studio arc-lamps,
Pictures and Picturepoer
AUGUST '922
<ind launched his arrows barbed with
" love at first sight," and they married
before the film that brought them
together was completed.
They are very happy, these two
talented celebrities of filmdom, for they
live in the Beverly Hills, and fish and
picnic and keep prize fowls with a
joyous irresponsibility that has beneath
it that true heart affection that makes
real comradeship possible.
The woman who had the utmost
confidence in her attractive charms
might well be dubious in seeking to
hold the affection of Thomas Meighan,
who has numbered amongst
his " screen wives "
A
A
Bryant Washburn
and family.
/
-
m
-<
.•
»v
■'riK
Mr. and
Mrs. Owen
Moore.
Mr. and Mrs. Ralph Ince.
such attractive members of the
film world of fair femininity as Blanche
Sweet, Norma Talmadge, Mary Pickford,
Gloria Swanson, Katherine MacDonald, and
many other beauties.
Yet Frances Ring, slim, pretty, and with un-
deniable charm, possesses all the heart that
Thomas Meighan has to give. He met her ten
years ago when he was playing in her company in
The College Widow.
" She is the best friend and pal I have in the world,"
Meighan will tell you proudly. And as he becomes reminis-
cent over the pretty little woman whose influence has done
so much to help him climb to success, one realises that she is
mother, wife, sweetheart, and good pal to her handsome Irish
husband. Mrs. Meighan is always in the studios when her
husband is at work before the cameras. She has left the films
herself now ; but Meighan is rather like a child in his dependence
upon her. He says that she inspires him, and he can do better
work if she is near him.
i
M
%i **
<"* a t
IAUGUST 1922
Pictures and Picf\iKe$oer
• 19
Two bonnie boys,
vho boast the names
if Franklin Bryant
nd Dwight Ludlow
foody, have helped
o seal the married
appiness of Bryant
Vashburn and Mabel
'orrest. They fell
b love in the old
ays at the Essanay
tudios. Then Mabel
orrest was a slim,
jlue - eyed girl of
udolph Cameron and
Anita Stewart.
seventeen. Florence Vidor was not far removed
from her college days when she was married,
and there are many other instances of girl and
boy weddings spread along the path of kinema
history. Yet these alliances, which in everyday
life are looked upon with doubting cynicism
have seldom proved unhappy.
When Nazimova leaves the studios in her big
blue car to drive with her husband, Charles
Bryant, to their picturesque home in the Holly-
wood Hills, one sees one of her thousand moods
that^ seldom finds a reflection on the screen.
In Nazimova's bizarre, imaginative presentations
before the camera, love of the domestic and
truly human order is seldom portrayed. Esthetic
passion is more her rendering of the affairs
of the heart. Yet in reality she loves her
husband' and. her home in the old-fashioned
way that has survived through the centuries.
She married Charles Bryant ten years ago,
when, strangely enough, she was portraying
on the stage the loveless character of " Bella
Donna." In her home, much of the subtle
mystery that' surrounds her on the screen
falls away. She is at times almost a recluse
in her love of family life, contenting herself
with her books in her house of amber curtains
and Venetian mirrors, in the company of
her husband, with whom she collaborates
in the writing of her screen plays.
Up in the Beverly Hills, where the red-
tiled roofs of picturesque houses gleam in the
eternal sunshine of California's cloudless
skies, live many happy husbands and wives
of filmdom. They are very like happy children
in a wondrous garden, playing with their
modern toys, in the form of luxurious limou-
sines, picnicking in the lulls, and delighting
in their Japanese gardens, swimming pools and
beautifully furnished bungalows.
Mary and Doug at " Pickfair," their house
in the hills ; Mr. and Mrs. Charles Ray ;
H. B. -Warner and his \vife
Tom Mix and
Victoria Forde.
20
Pictures and PictureOoer
AUGUST 1922
Rex Ingram and
Alice Terry.
two visitors with babyish lispings and paved the
way for Cupid and a resultantly happy marriage.
Something of the loneliness that inevitably affects
Orientals in Western lands was responsible for the
happy marriage of Sessue Hayakawa. He met his
wife, Tsuru Aoki, at the Ince studios, and the senti-
ments of the East that lived in their beings inspired
a mutual attraction.
In spite of their Japanese ancestry, both Mr. and
Mrs. Hayakawa were educated in America, she in a
convent school and he in Chicago University. Hence
their domestic life has a touch of the Western world,
and they live at the foot of the Hollywood Hills.
Certainly, if happy marriages are made in heaven,
then the celestial records must contain the names
of many happy husbands and wives of filmdom.
And the happiness of these alliances undoubtedly
finds its reflection on the screen in the presentation
of the deeper human emotions that mere acting
art could not hope to realistically portray. '
Rita Stanwood ; Dorothy Phillips and her director-husband,
Allen Holubar ; Shirley Mason and her husband, Bernard
Durning, and many o4her high lights of the screen are
members of this happy colony, who mingle social life with
the companionship that the open-air life in California's
ideal climate provides.
At Hollywood you could find an old-world bungalow with
the name " Ruth " painted on the rose-covered porch.
Here lies a romance. It is the dwelling of Conrad Nagel
and his wife, Ruth Helms, and the bungalow is named
after her and a chubby, flaxen-haired youngster who bears
a similar name. •
Nagel met his wife through his love of children. He was
visiting a children's hospital in Chicago, and one day he
found a girl with expressive blue eyes and flaxen hair sitting
at the bedside of one of his favourite kiddies. With a
child's typical lack of conventionality it introduced the
auglm 1922
Pictures and PictureQoer
25
do the
trick,
serious, this
comedian.
' Evidently it's very
business of being a
Sark On the Screen.
Guy Newall, Ivy Duke and com,
pany are away at the Channel Isles.
Not holiday-making, but hard at
work on exteriors for Maid of the
Silver Sea, the John Oxenham story
they are bringing to the screen. Sark
is the spot chosen for most of the
scenes, and Ivy is, of course, the
" Maid " of the story.
Trying It On the Dog.
Here's an " at-home " snapshot
of Frank Dane, who has just
finished work in Creation, down at
Torquay. Frank plays the pre-
tended husband in this story of
a woman's belief in Spiritualism.
Not at all a nice character at the
beginning of the film, for he de-
liberately trades upon the heroine's
idea that the spirit of her drowned
husband would return to her. How-
ever, he repents before the last
reel. You'll see him this month in
The Black Tulip, as " King William
of Orange." Frank Dane comes
from Kent, and commenced his
career with the old London Film
Company. He likes character roles
best, he says ; but doesn't object to
, being a villain now and again. The
dog isn't a " Great Dane," nor even
a little one, but, according to Frank,
he's a great pal, and never interrupts
his master's elocutionary efforts.
Georges Carpentier
and
J. Stuart lilackton.
Pauline Johnson's Prayer.
Pauline Johnson quite recently com-
plained that she was tired of being a
good little film girl, and wanted to be
a tomboy. But with her mass of fair
hair and gentle expression, she looks
just the " heroine " type. Pauline
Johnson was starred in Blanchette, the
film made in France, and has appeared
in several Broadwest productions.
Reforming tramps seems to be a
hobby of hers (on the film, that is) ;
she was the girl in The Great Gay Road,
and has now been playing opposite
Victor McLaglen in A Sailor Tramp,
at Welsh-Pearson's. Pauline Johnson
appeared as " Polly Love " in the
scenes made this side for The Christian,
and, amongst other things, had to
cross a crowded West End street carry-
ing a baby in her arms, and dodging
interested onlookers as best she might.
Looks Like A Sad Page.
The rather tragic episode depicted at
the foot of the opposite page will be
seen presently in Pages of Life, in
which Evelyn Brent stars. Evelyn is
seen as a young girl, with Luis
Hidalgo; also as an old woman —her
first dual role. The story is one con-
cerning the Chelsea section of London's
Frank Dane and a four-footed protigi.
inhabitants, and varied aspects of the life that
is known as "Bohemian," as well as many night
scenes taken in the West End. Filming some
of these was accomplished with difficulty. One
of the indignant inhabitants of Onslow Square,
awakened by the glare of the arc-lamps, thought
his house was on fire, and rushed into the street
without waiting to dress. When he saw what was
actually taking place, he was highly indignant, and
held forth at great length about it to a sympathetic
P.C. he found not far away. But when he had
finished his long tale of woe, the patient policeman
informed him that he really couldn't take the pro-
ducer and company in charge, because he was one
.of their own " supers."
Violet Hopson's Holiday.
The tea party on the opposite page took place at
Cookham during the filming of The Son of Kissing
Cup. Adeline Hayden -Coffin, who has success-
fully " mothered " Violet Hopson in so many recent
films, is just back from Minehead, where she has been
playing in Lark's Gale. Violet Hopson and Stewart
Rome are working together once more in The White
Hope, after which Violet will take a rest. She has
appeared in every film directed by Walter West for
the past four years, and declares it is high time he
made one without her. So, while The f'runing Knife
(which is Walter West's next after The White Hope)
is produced, Violet will be on her holidays.
26
Pictures and PictureQuer
AUGUST 1922
HARRY MYERS
Whowasthe " Yankee at the Court of King Arthur," has
had a long and varied screen career. For many years
he produced and starred in his own comely films.
Pictures and P/cf-urepoer
27
DORIS DEANE
This stately lady looks an itleal Queen of Tragedy, doesn't
she? But you mustn't judge by appearances in the movie
world. She is Clyde Cook's new leading lady in his
hilarious comedies.
28
Pictures and Picture Over
AUGUST 1922
FLORA LE BRETON
The dainty " Rosemary " of " The Glorious Adventure,"
who is now supporting Carpentier in J . Stuart Rlackton's
new film, which is based on the novel "My Lady April,"
by John Overton.
CHARLES BRYANT
A howl of rage went up from pieturegoers when it was
announced that Nazimova's handsome husband was
deserting the screen in order to look after his wife's
business affairs. Mr. Bryant is an Englishman.
#t\
&
^%. <~**
CONRAD NAGEL
Whose smile is now beloved of the movie multitude.
Conrad, who is 26, has figured in several recent releases,
notably " What Every Woman Knoivs " and " Mid-
s u m trier Madness . ' '
<7Ae
Screerxfeskiorx
Plate
ome charming movie modes worn by popular
players of the shadow stage. Left : A
gorgeous gown of mirror velvet and grey
georgette, with a draped panel. The
panel is faced with grey crepe meteor,
and the girdle is composed of blue pearls
and steel beads.
Right : Claire Windsor's ninon dress,
veiled with shadow -lace, with side
panels of beaded ninon.
Below : A pretty sports outfit dis-
played by Leah Baird. Helen Chadwick's
wonderful evening dress of silver tissue
and georgette, the draped sleeves of
which are trimmed with fur A simple
sports costume worn by Mary Anderson.
Salome
Demarkable scenes from Nazimova's latest
**■ production, which is a film version
of the play by Oscar Wilde. Costumes
and settings for the picture were suggested
by the drawings by Aubrey Beardsley,
and the production is on Futuristic lines.
The famous Dance of the Seven Veils is
one of the features of the film, the
supporting cast for which includes Nigel
de Brulier and Mitchell Lewis.
Four girls, clad in mysterious black
robes, take part in the dance ; and music
is provided by six weirdly misshapen
dwarf figures playing various instruments.
These are taken straight from the Beards-
ley art. The effect of the silvery costumes
and settings was enhanced by the use of
gold paint on the finger nails and eyelids
of the dancers.
Vivien Gibson and
Ola) Hytten in " The
Bride ot Lammermoor."
Pdtirvk the Classics
A. B. I meson, Wyn
Richmond, and Clive
Brook in " Rigoletlo."
d common complaint from the
picturegoers of the present
day is that in a number of
films they are obliged to
watch scene after scene,
played by dashing heroes
and dainty heroines, which
are of little or no conse-
quence to the actual story.
Realising this, H. B. Parkinson, of
the Masters Film Company, has de-
vised a plan whereby the boredom of
" picture padding " is done away with,
and the audience is presented with the
pith of ami the most important in-
cidents in the story in one reel of film.
So successful have these productions
proved, that in addition to the first
series that he originally planned — and
which were entitled " Tense Moments
from Great Authors" — his producers
are now busy with two more series.
Selecting the most famous of the
Operas, he has compiled a series of
twelve, and in these operas appear
many of our leading British screen
stars. The next series, which is now
well under way, is composed of six
one-reel films, all of well-known and
popular plays, in which Sybil Thorn-
Top right : Russell Thorndihe in " It's
Sever Too I. ate to Mend."
Below : Milton Rosmcr in " David Garrick."
dike will appear in the leading part.
Amongst the operas which can now
be seen on the screen are Samson and
Delilah, with Mile. Valia as the famous
Delilah " ; La Traviata, with Clive
Brook and Thelma Murray as the hero
and heroine respectively ; Don Juan,
with Pauline Peters in a leading part ;
Fra Diavolo, with Lionelle Howard as
the hero ; and 77 Trovatore, with
Lillian Douglas as " I-eonora " and
Bertram Burleigh as " Manrita."
Amongst the famous artistes who
have appeared in the Great Authors
series are Hilda Moore in Sapho, Iris
Hoey in East Lynne, and Lyn Harding
in Les Mixerables.
It is interesting to note that the last
film work done by the late H. V..
Esmond, who died in Paris recently,
was as " Scrooge " in one of this
popular series.
1 >espite the fact that these films are
only short features, all possible care
is devoted to them — as much so,' in
fact, as to many five-reel films.
If the series now in course of produc-
tion prove as popular as the first, Mr.
Parkinson plans to produce several
more novel one-reel series.
Left : Russell and Sybil Thornaike in
" Oliver Twist."
Below : Clive Brook in " La Traviata."
Salvage
h JQMM FLEMIMC
•""\yrus Ridgeway, being quick in
/ * all things, had no need to
I pause long at the matrimonial
dish and pick around. From
I his financial pursuits he stayed
% long enough to select the one
\^ who would grace his name and
^^ fortune, propose the marriage,
buy the ring, and name the
day. It took Mm less than a fort-
night ; then the wheels revolved as
ever. Bernice, mistaking width of
girder for strength of will, became
Mrs. Cyrus Ridgeway. And everybody
seemed satisfied.
Hut a year with the grandest
machine tends to dull the musical
charm of its creaking. Twelve months
after her marriage, if Bernice admired
her husband at all, it was rather in the
spirit of the stranger to New York
who admires the Flatiron Building.
His might she could not doubt ; his
strength was apparent even to those
who had never met him, but had only
felt the tremors of him from afar ;
but might and strength — in the mate-
rial sense — are things that can be
admired at a distance. Bernice began
to wonder what was the advantage —
or the sense — in joining the Flatiron
Building in matrimony. Her taste in
domestic architecture had been at
fault, and she was beginning to
appreciate it.
" We might be happier," she sug-
gested, " if we had a child."
" Certainly we need a child," he
agreed, not taking his eyes from the
morning mail. It was the third
minute of breakfast, and he had not
yet looked at her.
" You would like a child ? " she
asked.
" What's to become of the house of
Ridgeway if we don't have one ? " he
asked coldly.
It was then she told him that soon
the name of Ridgeway was to be
perpetuated..
" Ah ! " he said. " Good ! "
" You are pleased ? "
" There will now be somebody to
carry on the work that 1 leave behind,"
he said.
" If it's a boy ! "
It will be a boy ! " he snapped,
in the manner of a man who can order
the universe.
And it was. A boy. A boy, but . . .
The nurse, well-paid in Ridgeway
gold, explained to Bernice.
He was born terribly deformed,
Mrs. Ridgeway — terribly deformed.
He died."
Dead ! Her baby dead ! The baby
that was to have bridged the gulf in
their home, that was to have shown
Bernice that her husband was more
\ *
than a splendid piece of architecture
and that was to have taught Ridgeway
himself that life holds more than
shares in oil — dead !
She turned to her husband for
sympathy in her hour of trouble.
Yes," said he ; " dead. But . . .
as well, though, perhaps. A deformed
CHARACTERS :
Bernice Ridgeway ) Pauline
Kate Martin j Fredfiuck
Cyrus Ridgeway
Fred Martin -
Ruth Martin -
The Maid
The Cripple
Ralph Lewis
Milton Sills
- Helen Stonk
Rose Cade
Raymond Hatton
S'arralcd by permission from the Jury film of
the sum,- title.
man, a terribly deformed man, carry-
ing on the Ridgeway name— my
name. As well, perhaps."
" Cyrus ! " she cried.
" There, there ! Be calm," he com-
manded. " We must think of these
things . . ."
The day came when Bernice was
convalescent and was ready, as her
husband said, to t.ike a holiday. And
Bernice was resolved to take the
holiday the longest holiday that life
could hold. To Ridgeway she said
nothing, but, dressing herself only in
the poorest dress that her wardrobe
held, leaving her costly dresses and
jewels behind, she went out of the
dignified mansion of the Ridgeways
for ever.
She stood a moment at the gate,
looking back.
" Dead ' " she murmured, her pale
hand clutching her throat. " Dead !
Hope, love, my child and my future
all dead ! "
Ridgeway had found his wife, as he
explained afterwards, in the gutter,
and he supposed that it was to the
gutter she returned when she cut her-
self adrift from all that he had to oiler
her. In truth, although she had not
been of so exalted a station as her
husband, Bernice was of royal blood
in her earlier days by comparison with
what she now sank to. To hide foi
ever from the scenes and the memories
of her husband and her marriage was
now her only aim to fly to some
place where lie should never be able
to find her. To the gutu-r, then, she
went — but from choice as well as
necessity. She took up her residi
in Tracey's Rents for another reason
than that she must earn her living .it
the factory near by. Here she was
lost lost to the pasl
And here, at long last, in some mild
measure, Fate was kind to her.
One daw at her window, she beheld
across the street a w •
whom she felt at once an absoibin^
interest. It was not mereh '
Itcrmce's taste in domestic architecture had been at fault, and she was beginning
to appreciate it.
woman was of a type totally strange
to her the furtive slouch, the averted
eye, the halting gait, and trembling
limbs of her betokened the dope fiend,
the wreck of a character that had* once
been big and strong ; but her face and
her figure were so strangely the face
and the figure — and in some way not
either- of Bernice herself, that the
looker-on might very well have been
[looping into the mirror of the future
as she watched the passer-by.
" There, but for the grace of God,"
Bernice murmured, staring entranced
as the forlorn creature turned the
corner and was lost to sight.
Bernice determined to know better
the lost woman who was so strangely
like her, or like what she could so
easily become, and the ice of silence
was broken by the woman's daughter,
Ruth, a little girl of five or six, who
came one morning with a message.
" Please muvver says could you lend
her a shilling. It's for the gas."
Bernice smiled and patted the mite's
head .
' Tell your mother that I have no
change just at the moment," she said,
" but that I will get some and bring
it across. And here is a flower for
your dress."
The little girl toddled off with the
message, and Bernice set about finding
a shilling, which was a greater task
than the girl had been given to under-
stand. But the shilling was found,
and with it Bernice crossed the sordid
square of Tracey's Bents to the foul
hovel of Ruth's mother.
The woman's name \\ ;is Kate Martin,
and she had a candour born of despair.
rhanks," she said " H^#H*1 for
the gas, but you can't tell a kid that,
can you ? You'll have your shillin'
back by evenin' — leave it to me ! It's
just for a drop, dearie, just for a drop.
I dunno how I could go on livin' with-
out my drop. What do you say ? "
And then came her history. Every-
body knew it, so why shouldn't the
new neighbour ? Her trouble was the
drink — and the drugs when she could
get at them ; mostly she couldn't
through lack of funds. Her downfall
had been the stage. Her millstone was
the child. Her husband was in prison.
" Awfully hasty man, Fred," she
explained. " Terribly hasty man. Had
a friend living with me while Fred was
away in the North, working. The
nicest man you could hope to meet,
that friend was. The nicest man you
could hope to meet. But Fred, when
he met him, what do you think ?
Bullet clean through his heart ! Awful
hasty way with him, my husband !
Now he's in prison for five years, and
my friend's in heaven for ever — if
ever a man is — and I'm just here like
always, in debt. Terrible thing, life,
missis. You couldn't make it a couple
o' bob, could you ? "
Bernice ventured the suggestion that
a sunbeam like little Ruth must lighten
the darkness of Tracey's Rents.
" Kids ! " said Kate Martin, with
curling lip. " 'Sou dunno what you're
talkin' about, missis. Wait till you've
a kid of your own. They're punish-
ments, kids is, absolute punishments !
But what I've done to deserve her ..."
It was the strangest friendship, and
yet friendship it was. Some-
times Kate would drag her Ixmes
across to Bemicc's little room and
bring her " drop " with her, not being
able to " bide " solitude and her
daughter Ruth in one dose. She would
sit throngh to dawn sometimes, cursing
fate and life and kids and husbands,
and demanding to be told what she had
done to deserve it. On these occasions
little Ruth would be put to bed in
Bernice 's room while the women
talked, and in the course of time she
came to look on Bernice as more her
" real mother " than Kate.
One day Kate grandly took her call
in her friend's room, and Fate again
pushed round the wheel in Bernice's
favour.
Kate had been two days " dropless,"
and it seemed to her that the end of
the world was near enough for her to
cease bothering about the to-morrows.
" What's the use ? " she moaned.
" I ain't had a drop for two days. I
might not have a drop for two more !
What's the use ? "
She took out a revolver.
" Seen one o' these before ? " she
grinned.
And before Bernice was clearly
aware of her intent the crazed woman
was dead at her feet and the room was
filled with the vile smell of the smoke.
Death again ! Bernice shrank back
appalled. The death of child, hope,
love. Now the death of her only
friend. . . . Always death.
Her hand was on the knob of the
door, her intention was to summon
aid, to send someone for the police and
bid them keep the dead woman's child
away, when suddenly the move of Fate
was plain. Her chance !
Kneeling, she changed attire with
the corpse, and in five minutes what
the little world of Tracey's Rents took
to be Kate Martin was running across
the little square guiding the doctor
and the panting neighbours to the
body of what they took to be Bernice
Ridgeway.
" She told me 'er name was Ridge-
way, Bernice Ridgeway," said Bernice,
mimicking the dead woman's tones.
" Said she was wife of Cyrus Ridge-
way, the City man, and had 'opped it
because he was a bit of a terror. Said
she was fed up with life."
It got into the papers and shook the
town. Even Cyrus Ridgeway himself,
brought thus crudely to the bigger
reality than cash, was shaken like a
stout oak, and found himself wishing
that things had been in some way
different. But how, just how, he did
not know.
It got into the papers — and it got
out again, as things do. In a week,
all the world except Cyrus Ridgeway
had forgotten.
In Tracey's Rents life went on as
ever. Suicides were the dust of
life's street in Tracey's Rents. People
batted an eye, flicked out the dust,
walked on. A mere nothing ! The new
Kate Martin took up her abode in the
old Kate Martin's hovel, and nobody
was a halfpenny the wiser- except,
AUGUST 1922
Pict-\iKes ar\d Picture$oer
37
perhaps, little Ruth, who wondered
row and again what had come over
" mummy." If the rest of the sordid
community wondered at all, it won-
dered why old Kate had suddenly
decided to leave the booze alone and
go out to work.
It was one night in the autumn when
the door of the little room was thrown
open after a timid knock and a man
walked in. He was a man not yet old,
though aged by experience ; still good-
looking, and with the furtive glance
that betokened Tracey's Rents not
yet pronounced.
" Kate," he said, glancing away
from her shame-facedly, " I'm out. It
was a free pardon. They've been
looking into my case for a long time,
it seems, and now I'm out. I say —
I'm sorry 1 did what 1 did. If you'll
cut that out and start afresh with
me . . ."
He glanced across the room again,
and saw her staring eyes.
" Kate ! " he gasped. 1 mean ..."
He came closer and sat before her
and stared at her. Then round the
room at its patent tidiness, and back
again at her eyes. Suddenly he
sprang to his feet.
" I — I don't understand ! " he cried.
" Why . . . you're not Kate ! "
" No," she said. And then she lis-
tened and heard the tiny footsteps
pattering up the steps. " But every-
body thinks I am, and little Ruth
thinks I am, so please, for her sake,
wait until afterwards — and I'll tell
you all."
The door was flung open again, little
Ruth came in, paused in surprise on
the threshold, shouted " Daddy ! "
and raced across the room. And,
though Fred Martin could not under-
stand it in the least, he saw so plainly
that things had changed — and changed
for the better— and he saw too that his
little daughter Ruth was head over
ears in love with " mummy," and
decided that it would be wiser, all
things considered, to leave well alone
and let the explanation come
when it would.
" Could I — have a cup of
tea, Kate ! " he asked.
Over tea she observed him
closely and liked him. Fred
Martin was largely what seven
years of Kate had made him,
polished by seven years of
Tracey's Rents. In some other
setting he might be reborn a
new man. He was gentle and
kind, and loved his little girl ;
if he had been through the fur-
nace, it seemed that the ordeal
had only served to harden the
steel. Yes, she liked him.
And when little Ruth was in
bed, and even Tracey's Rents
were quiet, she told him all,
and he sat and listened with
eyes that shone as if they had
seen the re-birth of hopes long
dead and buried.
You'll stav ? " he asked
The kiddie thinks the world
of you, and the place is so different,
and ... it wasn't like this at all,
before. I can camp in the spare room
comfortably. You'll stay ? "
I'll stay," she promised. " I — have
nowhere else to go."
And so she stayed, and Mr. and Mrs.
Fred Martin continued to occupy
different corners of the Martin strong-
hold, meeting on the common ground
of the little kitchen for meals and
talk.
In the same tenement was a cripple
living with his baby, a little boy of not
yet one year. Often had Rernice seen
the long glances which the cripple cast
in her direction when she was passing,
and at last he spoke.
I have seen the kind way in which
you treat your little girl," he said.
" There is so little kindness in Tracey's
Rents. I wondered . . ."
He broke off and looked away.
Yes ? " she prompted.
My wife is dead," he went on,
" and I have just found work at a
great distance. I wondered ... I have
nobody to look after my little boy, you
see . . ."
" Why," smiled Bernice, " leave
him with me. I will take all the care
of him that he needs."
And in this way the strange baby
joined the already strange house-
hold.
A strange household, yes ; but a very
happy household too. Tracey's Rents
began to stare. Saturday afternoons
in the park or the fields ; Sundays
pleasantly at rest ; singing and laughter
on the working days. Fred Martin
began to hold up his head with a pride
that Tracey's Rents did not know.
One evening Fred decided that their
happiness could be yet more
complete.
Bernice," he said for always now
in private and when other ears were
not near to hear he called her by her
own name — " Hernice, I want you to
marry me."
She was sitting at the moment, not
expecting the sudden confession, but
now she rose swiftly and walked to
the window and stood looking down
on the sordid spot that was her world
without at first answering.
" Bernice," he repeated, " do you
hear me ? I love you -can never stop
loving you now. You must see that
things cannot go on much longer as
they are. I want you. Once I made
a big mistake — I came very near to
making a wreck of all my life. In you
is my chance to wipe out that dreadful
past, and to live over again my life as
I should always have lived it. And
you will be a reward, too, for all 1 have
suffered. Bernice —
She turned now and came towards
him.
" No," she said ; " no. I — -cannot."
" You will not marry me ? "
" I cannot. Think ! Cyrus Ridge-
way may think me dead — the w'orld
may think me dead — but I am still
Cyrus Ridgeway's wife. Her name is
on a lonely grave, but she still lives.
Do you think Ridgeway divorced me ?
No. He mourns his wife, perhaps, but
his wife lives."
Martin sighed.
" Believing what he does, he may
try to marry again," he said.
"In wdiich case 1 must admit my
deception," said Bernice.
The body of what they took to be Bernice Ridgeway
38
Pict\iK25 and Pict\jre$uer
AUGUST 1922
It seems that whatever we may
do, all through life, we are trapped,"
M.utui complained.
" We are happy," smiled Bernice.
" Perfectly happy. We must just keep
on being happy and refusing to recog-
nise the trap, and . . . waiting."
Waiting ? "
" I am not free. But some day 1
may be."
Somebody was coming up the
steps it might be a neighbour — the
feet were already pausing for the last
steep climb. Hurriedly Martin crossed
to her and took her in his arms and
kissed her before the door should open.
" That," he said, "is to show you
that on the day you are free . . . you
won't be ! "
She smiled.
" When the chains fall off," she said,
" it will be my greatest happiness to
help you fasten the others on."
" You mean it ? "
" I mean it ! "
" Bernice ! "
" Fred ! "
The knock was at the door panel
now, and she hurried to admit the
caller.
She opened the door, and Fred,
across the room, heard a low cry and
hurried to her side.
" What — do you want ? " he heard
her saying to the caller.
Into the room came a young woman
in the uniform of a parlour-maid, over
which a raincoat had been hurriedly
thrown. Once, in a long-dead past,
she had been parlour-maid to Mrs.
Cyrus Ridgeway.
. "I came for you, ma'am," said the
maid. " Master is very ill, and wants
you to see him."
" But — how did you know I was
here ? "
" I saw you here many weeks ago,
ma'am, when I called at Tracey's
Rents on business."
' Then — he knows ? "
" He has known all the time, ma'am,
that you were not dead."
A shadow of perplexity crossed
Bernice's forehead.
" And what was the business that
brought you here ? " she asked.
The maid looked troubled, and her
eyes fell. •
" Tell me."
Your baby, ma'am, when it was
born — it didn't die. But because
it was deformed, master sent it away —
here. ... I used to call and see it for
him . . . and pay. And when the
doctors came to it I was present for
master, though nobody knew it was
his — not even the doctors — nor where
it came from."
" The doctors ? It died, after all ? "
" No, ma'am. It was operated on,
and recovered. It is not crippled now.
It is — like other children."
The cripple's adopted boy came into
the room now, holding the hand of
little Ruth.
Is that the boy that was with the
cripple who used to live downstairs ? "
asked the maid ; and, at her mistress's
nod : " He is your baby."
Bernice looked from the maid to her
baby, scarcely able to believe the glad
news, and not knowing whether to
laugh or cry. " But — but. . ."
" Master arranged it all, so that you
could go on living as you wished and
get your baby back to you, ma'am,"
said the maid. " And now he is very
ill, and "
" How shall we go ? " Bernice asked.
" The car is waiting in the street."
Bernice put on her hat and then
turned to Fred.
You- will wait ? "
I will wait," he answered, " if I
have to wait a year."
She pressed his hand and -followed
the maid to the waiting car \nd in
half-an-hour she was beside the bed
of her husband.
Bernice," said Ridgeway, Lurn:ng
his head feebly towards her, " I
wanted to say I was sorry. I tried to
make amends. I found out that there
were other things in life. ... I hope
you will be happy. I . . . am going ..."
She knelt by the bed and took his
hand. For a little while they talked
of the dead days and of her future.
At last, half-shyly, he said :
I cannot in the nature of things
expect you to have affection for me,
but if you could just kiss me once."
She kissed him tenderly, for the sake
of the love that had been dead so
long, and as she leaned over him he
whispered —
I have left you all — you and the
boy." And with these words Cyrus
Ridgeway died. For a long time
Bernice knelt in silence by the bed,
her boy clasped in her arms. At last
the butler approached her.
" Your room will be ready, ma'am,"
he hinted.
" I shall not want my room," she
said. " But ask Rogers to get out
the car."
Yes, ma'am."
And to Rogers, as he stood beside
the open door of the car awaiting
orders, she said—
" Tracey's Rents."
Yes, ma'am," said Rogers, and he
drove her there. But, as he said long
afterwards, retailing the story for the
hundredth time, he never could under-
stand it.
Neither could Tracev's Rents.
AUGUST 1922
H
Picf-\JK25 and Pict\jre$oer
39
e
dbe
On or of) the
screen,
Bert l.ytell is
always
genuine and
unaffected.
an
Actor
No other profession appealed to Bert
Lytell, and picturegoers will agree
that he knew very well what he was
about.
Before I commenced to make
my way up the wooded
drive that led to the
Hollywood house of Bert
Lytell, I instinctively
transferred my note-case
to a safer pocket. It was
a tribute to the realism
that this Jimmy Valentine
of the screen puts into his light-
fingered ness before the cameras rather
than an aspersion on his honesty.
There is little to suggest distrust of
the open - countenanced Paramount
star when one meets him in a domestic
setting away from skeleton keys and
safe-breaking implements.
If Lytell had carried his screen
characteristics away from the studios,
and he represented a plausible in-
dividual preying on Society, he would
have found me a ready pigeon to be
plucked. His smile is such a maker
of instant friendship, and his reflective,
hazel eyes inspire confidence. Had
he produced a pack of cards from the
pocket of his immaculately cut suit,
and, selecting three, had called upon
me to " find the lady," I would
readily have hazarded my coins on
the flickering pasteboard. And if I
had lost — as, of course, I should —
had Lytell neglected to transform
himself back into the respectable
" Dr. Jekyll " of family life, and had
retained his " Mr. Hyde " charac-
teristics of the studio, I should not
have mourned. His happy smile
would have made me feel glad that I
had not. won and hurt his feelings.
Bert Lytell is like that — a lovable,
likeable fellow, whom you instinctively
want to please. He has an irresistible
.twinkle in his eyes.
" Do you know," he said, with
mock seriousness, after he had led
me to a shaded rose-covered verandah,
where attractive yellow straws pro-
truded from iced drinks of delight-
fully vague concoction, " that ' when
you say you have come to talk over
my career, you are fortunate not
to be conversing with a serious,
spectacled lawyer ? "
" I thought that your only asso-
ciation with the law was the pre-
sentation of characters that justified
its existence," I remarked.
Lytell grinned. " I confess that
I have been cruelly thrust into
the screen by-ways of crime by
heartless producers," he admitted ;
" but that is rather the irony of
Fate, for my parents were am-
bitious for me to become a lawyer
when I left college."
I looked at the bronzed, clear-
cut features of my host, so far
apart from the rigid, immobile ,£
faces of those who live in
chambers amidst the atmo-
sphere of crackling parch-
ments, and I saw in his
eyes the lack of that
insensible outlook on tj
men and affairs that
enables lawyers to balance and weigh
human tragedy as though it were
chalk and cheese.
" You would never have made a
successful lawyer," 1 said, reflectively;
" you are too human."
Suddenly Lytell became serious.
" You are right there," he said,
reminiscently, " for although it may
sound strange to admit that I became
obsessed with a character that I was
depicting^for the cameras, it was cer-
tainly the case when I played in The
Right of Way. I was ' Charlie Steele,'
the lawyer, in that strong story of
Sir Gilbert Parker's. Honestly, there
As
" Charlie
Steele "
in " The
Right of Way."
were days when I lived
' Charlie Steele.' I ate
with him, slept with
dreams of him, and at
times I plied his pro-
fession with him, and
felt as if I was really
preparing to plead for
the life of a murderer
before a stern - faced
judge."
He shuddered as he
spoke, and I realised
then how powerful his
imagination is, and how
it enables him to weave his characters
before the cameras with a realism
that at times is almost uncanny.
" Because I always live in my parts
until the final fade-out," said Lytell,
" I had a memorable insight into life
as a lawyer has to live it in my part
as ' Charlie Steele.' It made me very
grateful that the call of the stage in
my blood had proved too powerful
for my parents to resist."
Like all creative artistes, Lytell is
temperamental. His seriousness was
swept away like chaff before the wind
as I recalled his happier memories of
early stage days.
" Talking of hereditary influences
40
Pictures and PictureQoer
AUGUST .922
llert l.ylell in
" A Trip to
Paradise."
" I had a part in ' The Lights
of London,' the melodrama
that survives in the memories
of our grandfathers."
It was in New York, how-
ever, that Bert Lytell first
began to convince his parents
that he had made a wise
choice when he displayed his
preference for the wigs of the
stage rather than the wig of
the legal profession.
" I played in stock- com-
panies from the time that I was
seventeen," reminisced Lytell. " It
was due to the number of make-up
tricks that I learned that I was
able to play leads, for I was able
to disguise my youthful features
and present characters considerably
older than I was in reality. Facial
control was useful on such occasions,"
he explained.
Then as I sat watching his animated
expression, he gave me an illustration
of his miming art. Almost as though
where the stage is con-
cerned," he said, with
a chuckle, " mine took
an early opportunity of
evincing themselves. I
made my first appearance
behind the footlights at
the age of three, when I
escaped parental control,
and wandered on to the
stage across a canvas set
representing the waters
of the River Thames.
My efforts were greeted
with ironic applause ; but
the salutary punishment
that I received after-
wards in the family
dressing-room did not
suggest parental appre-
ciation of- my youthful
histrionics."
Old Drury, with its
historical traditions that
give it a leading place
as a training ground for
stage talent, I learned,
was the scene of Bert
Lytell 's first success in
the theatre. He appeared at the age
of thirteen on the stage that Keats
and Toole trod, and Lytell's subse-
quent success in the world of fihndom
incidentally provides a new aspect
to the achievements of those who
learned their acting art on the boards
of Drury 's famous theatre. Its records
can now boast an association with
ihe fostering of a screen star.
" At Drury Lane," Lytell told me,
With Lucy Cotton in " The Misleading Lady."
some magician's hand had swept
across his features and transformed
them, his face changed. The under-lip
of his well-shaped mouth dropped and
curled, his high forehead wrinkled,
and seemed to lose its height, his eyes
narrowed, and thin lines wavered
around them. I was looking at the
face of a furtive, dissolute wastrel.
It was an impressive insight into
Lytell's cleverness, an almost uncanny
transmigration of personalities sug-
gested solely "by extraordinary control
of the muscles of the face, and an
inner understanding 01 those ex-
pressions and subtle facial contours
that sketch character on the features.
He was a crook of the screen at that
moment, and- I visualised how the
addition of make-up could give to
the cameras a realistic study of a
man of the underworld. But even
without the artifice of grease-paint,
or the studio arc-lamps, I saw in a
flash how, with a few contractions of
his face, he had become the drug
fiend who lived in a loathsome hut
in India — a character-study in The
Price of Redemption that Lytell en-
gendered with startling realism.
Then, with a flash of even white
teeth, he became my smiling, good-,
humoured host again.
" You see," he said, without pride,
but with a touch of enthusiasm in
his voice that revealed his love of
acting, " how much screen-acting in
reality depends on the artiste, despite
the tremendous progress that has
been made in the direction of cos-
tuming and make-up. A property-
man can only embellish a player, after
all. He can never give him the spirit
of character-presentation, which must
essentially come from within."
There is a peculiar shyness about
Bert Lytell — as though he shrinks
from appearing egotistical in his en-
thusiasm for his work. Suddenly he
will stop abruptly as he talks on the
art that he loves, and almost shame-
facedly will direct the conversation
into less personal channels.
We talked of the diverse characters
that he had played before the cameras.
In no sense is Lytell a screen type.
His versatility is the most valuable
shot in his locker of film talent. He
has figured in the roles of a, lawyer, a
rich man, a poor man, a beggar man,
and a thief.
A light step on the verandah
heralded the arrival of Mrs. Lytell,
and rather, I suspect, to my hand-
some host's relief, the conversation
went off at a tangent.
I found myself gazing into a pair of
kind, blue eyes, and a little bejewelled
hand was held towards me.
" This is my wife," said Lytell,
and I could detect the pride in his
tone as he spoke of the appealing,
fair-haired woman who had been his
inspiration since his early days in
stock companies on the road.
They are ideally suited. For Evelyn
Vaughan, as Mrs. Lytell was known
on the stage before she married her
leading man, has that somewhat un-
usual combination of womanly appeal
allied with a practical outlook that
even the dimple in her rather deter-
mined chin does not hide. She is a
very suitable guide for her tempera-
mental husband — a sympathetic link
between his imaginative dreams and
the practical affairs of life.
She teases him with that good-
natured understanding that real afTec
tion inspires.
Bert Lytell and Leatrice Joy on Lake Tahoe during the filming of
" The Right oj Way."
" Has he been telling you of all
the beautiful women that have been
his heroines on the film ? " she asked,
with mock seriousness.
I looked at Lytell for guidance.
We were on delicate ground, I sus-
pected, but my hostess speedily dis-
illusioned me on that point.
" Don't think I am jealous," she
said, with a happy, confident laugh,
as she took her big husband's arm.
" He's much too nasty a man on the
screen — a veritable waster. He doesn't
shave, he drinks, and takes drugs ;
I'm really frightened to go and see
him on the films, sometimes."
" Anyway," retorted Lytell, with
a twinkle in his eye, " you were very
glad to have a screen ' crook ' as a
husband the other day when you lost
the key of your dressing-table drawer.
" Did you hear about it ? " he
asked me. " My wife had to fall back
on my ' Jimmy Valentine ' knowledge
of picking locks with a hair-pin to
overcome the difficulties of a lost
key. The man who taught me that
sort of light-fingered business en-
lightened me in the studios. He was
an expert, and we had a close-up of
his hand operating the hair-pin.
Everyone thought it was a great
success until we heard that the lock-
picking genius had practised his
talent on the producer's office and
helped himself to the loose cash."
We walked round the picturesque
grounds of the house whilst tea was
being laid on the verandah, and
Mrs. Lytell recalled the days when
she first met her husband at San
V rancid. ,
" We were both playing at the old
Alcazar Theatre," she said ; " and
from love-making on the stage, we
became lovers in real life."
I had a hard standard to live
up to where sentiment was con-
cerned," interrupted Lytell, with a
quiet smile.
"In stock we played several
plays a week, and I made love to
my leading lady every evening in
every variety of character. I was
the bold wooer, the shy suitor
the overbearing cave-man, all
within a few days. Yet when I
proposed to my wife, despite all
the groundwork that led up to
my romance, I confess that I
was the diffident, stuttering
amateur just as tradition paints
the man who declares his
affection to the lady of his
heart."
Amidst the gravel paths
and smooth lawns of the
picturesque grounds of the
house of the Ly tells, I de-
tected signs that told of
the Paramount star's hob-
bies. There was the neatly
rolled tennis lawn where
he forgets the strenuous
life of the studios, and the glistening,
white enamel cups let into one stretch
of lawn revealed the fact that he
keeps his hand and eye in training
with clock golf.
When we had wended our way
back to the verandah, and Lytell
was momentarily occupied in helping
his wife to arrange the tables around
the silver, glistening tea-table, I had
j^m
Bert Lytell and an " extra " in " Junk."
the opportunity of studying my host
without an apparent staring process
of analysis.
He is pleasing without being hand-
some in the Adonis class of the
matinee idol. He has a strong face
witli a firm, fighting jaw that spells
determination in anything that he
attempts. His thick, black eye-brows
have just a slight Mephistophelian
suggestion, but his kindly hazel eyes hold the attention.
Thev are like mirrors that reflect passing emotions, retro-
spective mirrors that gleam with the momentary impres-
sions of laughter, tragedy and sadness that pass through
his active, creative mind.
l.vtell's heart is in character work, for although he
sometimes appears before the cameras as himself, he more
often obscures his real personality behind the clever mask
that he creates when he is presenting some human role
for the screen.
He told me that his favourite role was one far apart from
the matinee type of hero. It was in The Price of Redemption,
when he played the role of a British officer who ran through
a gamut of emotions. From a fashionable, drink-loving
young Englishman, he became a drug fiend, and eventually
a rejuvenated man.
" I had to sink my own personality in the part, and build
up the dissolute character I portrayed, piece by piece, until
I was a man entirely different to my real self," said Lytell,
as we discussed the film.
" That to me is the highest art of acting, and it was
because, in the early days, I did not think that without
the human voice and the restrained acting that exists on
the • theatre stage, it would be possible to reach a high
standard of character presentation before the film cameras,
I was not enthusiastic over the films. I imagined that the
exaggerated movements on which producers insisted would
reduce such miming to something approaching unconvincing
melodrama."
It was here that Lytell told me a little-known secret of
his screen career. When first he appeared in a film he
was disappointed in what he considered to be the limited
scope for a trained stage actor, and he went back to his
first love, the stage.
" Although my first picture was The Lone Wolf, in
which 1 made my debut before the film cameras at the
request of Herbert Brenon," says Lytell, " it was
the Metro Company who gave me my first real insight
into the possibilities of adapting stage art to the
kinema. I have the happiest memories of my films,
Lombardi Limited, The Right of Way, Alias Jimmy
Valentine, The Price of Redemption, The Spenders, One
Thing at a Time o' Day, and Faith."
Remembering that it had often been whispered
that Bert Lytell was still enthusiastic over the stage;
and was likely to forsake the pictures for his old love,
I tackled him on this question.
" I naturally have the influences of heredity
and the natural love of one's training ground in jtf^fc
any profession to make me still fond of the ^y^l
theatre," he admitted ; " but these are rather
like the memories that one
stores in a chest amongst
lavender. They are senti-
mental rather than of prac-
tical influence. I have
practically decided to
devote my career to
the films now."
And then Mrs. Lytell,
with a characteristically
feminine piece of logic,
interrupted.
" I never want Bert
to go back to the
stage," she said, with
a quiet smile. " That
would mean that I
should lose him in
the evenings. Now
I don't mind him
being at the studios
all day, when I
can look for-
ward to having
him later in the
day.'
And as Bert
Lytell is devoted to the little fair woman whose opinions
are valued by her big husband, as is the case with those
who know true affection, it is very possible that this
very womanly reason may be an invisible bond that
will do much to prevent filmdom losing one of its most
attractive actors.
Before I departed, Bert Lytell showed me another
side of his diverse character by taking me round his
library. The walls of this retreat are lined with rows
of volumes of past and modern masters of fiction.
" They are good friends to me," said Lytell, waving
his hand towards the books that cater for his intense
love of reading. " For they bring to me snatches of
character, and from their cold print I evolve imaginary
beings that often, in the past, have formed the basis of
my screen presentations."
In reality, books to Bert Lytell are very largely part of
his work ; a means of enhancing the value of his character
studies on the silver-sheet. For he is in no sense a book
worm. His greatest delight is to get away into the open air
after the turmoil and heat of the studios.
The hills and woods and plains of picturesque California
afford him opportunities for his hobbies of fishing, riding,
and shooting.
" To get close to Nature," he told me, " brings that
feeling of good health that is one of the essentials of film
acting. If you feel fit you are far more capable of pre-
senting realistic work on the screen. For I have a strong
belief that anyone who works before the cameras and is
in any way distracted by the effects of ill-health or an
overstrained nervous system, cannot deceive the lens.
" You must feel the emotions that you are depicting,
sorrow or happiness must be reflected in 'your eyes and
the lines of your face. It is more than miming. It is a
presentation of something that momentarily exists in
yourself."
To those who aspire to screen success, Bert Lytell
is an inspiration and a warning. He proves how
necessary hard work and intelligent study of acting art
are to those who wish to achieve fame ; and on the
other side of the picture he reveals the folly of
believing that the way of a film star is strewn with
roses from the beginning of things.
I left Bert Lytell with his books, for he is
searching for sidelights on a new character that
he is preparing for a future film. An interesting
insight into the famous star's character flashed
into my mind when he told me, as I departed,
that he would be spending
Bert Lytell on
his boat
" Nancy."
the rest of the evening work-
ing in his library. He had
just been given the leading
role opposite Betty Comp-
son in Paramount's film
version of Kick In, a
drama popular on both
sides of the Atlantic.
With his usual through-
ness he was studying
the part as he used to
study his stage roles,
learning the lines
that probably no
one, except his wife,
would hear him
declaim. Bert
Lytell still lives
in the future,
preparing for
greater triumphs,
heedless of the
temptation to
relax now that
he has pro-
gressed so far
along the road
that leads to
fame.
PictuKe<f>oer Parodies
Clara
WnvbaJ] Young
" ""% Ton are Young, Clara Kimball," the Film
^^ / Fan said,
Vr " And my question may seem indiscreet.
But I hear you've been acting for thirty-
two years —
JL How have you accomplished the feat ?
" The question of acting applied to my age,"
Answered Clara, " has nothing to do.
" As a baby in arms, carried on to the stage
By my father, I made my debut."
" You are Young, Clara K., but you've collared a pile
Of the tangible wealth of this earth.
I suppose that your income of thousands per week
Dates back to the day of your birth ? "
" In my youth," Clara Kimball replied, with a sigh,
" The movies were woefully mean.
Five guineas a week was the stipend -that I
Was paid when I came to the screen."
' You were Young, Clara K., but you're wiser to-day.
And such bargains 'twere hopeless to seek.
Pray, who was the far-seeing maker of films
Who paid you a fiver a week ? "
" It was J. Stuart Blackton," the actress replied,
" Who taught me the screen was sublime.
He paid me that wage, but it can't be denied
• That he thought it a lot at the time."
" You are Young, Clara K.,' but your wardrobe, I'm
told,
Costs you twenty-odd thousand a year.
Pray, what did you do when you'd hardly a sou
To spend on adornments and gear ? "
" In my youth," Clara Kimball replied with a groan,
" My dresses of ' priceless brocade '
Were cut out of cheese-cloth or coloured cretonne —
Cheap gowns by the hundred I made."
" You are Young, Clara K., as I've mentioned before,
But, although you have money and health,
How oft do you sigh for the dear days of yore,
When you hadn't' the worry of wealth ? "
I have answered four questions, and that should
suffice,"
Answered Clara, and flew in a rage.
" Send the rest of your queries to ' George ' for advice.
And await a reply on his page."
rfL/\Jrk!5 anu r il.i uz-ei/uc/-
Jack Holt, who tells
the story of his adven-
turous career in this
article, is well-known
for his work in "The
Romany Rye," " Vic-
tory," " Held by the
Enemy," " Midsum-
mer Madness," "The
Mask," "KittyKelly, M.D.,"
and other screen successes. At
one time he specialised in
villainous rSles, but he is a
likeable hero, too.
Purely Personal
4T/JflCK HOLT
5,
he old South, with all its
traditions, was my birth-
place and the home of my
ancestors through a good
many generations, and, like
every Southerner, I felt,
and still feel, "pride in the
fact. I was born in Fahr-
quar Country, Virginia, and
my father was an Episcopal rector
with parishes at Portsmouth, Balti-
more, and elsewhere in that dis-
trict.
I was about sixteen when my
father's health failed, and he had
relinquished his eastern parish and
retired to a smaller one in Virginia.
This brought us back to the South,
and I was soon adjudged old enough
to attend the Virginia Military
Institute. This was more to my liking,
but the strict guard kept on us was
mighty irksome. I remember we
were supposed to have one after-
noon off a week, but demerits
counted against this privilege, and
I had but one such holiday.
School over finally, I obtained a
position, which I held for four
months, with the Pennsylvania Rail-
road as civil engineer. But this
wasn't quite as adventurous a life
as I craved. I wanted to see the
world.
About this time the Donahu Ex-
ploration Company was organised
to go to Alaska, and I signed up
with them as engineer — this was
the period of the copper boom in
the North, and we headed for the
Kennecott River. We surveyed and
staked claims, and waited for the
boom which didn't come.
Before going to Alaska I flipped
a coin to see whether I should go
to that portion of the world or to
the Panama Canal, where there
were also prospects of employment.
Alaska won !
As I say, the boom didn't ma-
terialise, but I stuck it out for two
years with the Company, wild-catting
about with no luck to speak of.
Then I quit them and packed mail
by horse or dog-team. . . .
I had narrow escape's, yes ; but
then everyone who seeks fortune
in the frozen North, goes after big
game in Africa, or seeks adventure
or profit along the Equator,
has many such escapes. My
worst was when I was caught
with five or six others in a
snow-slide. They were all lost,
but I stuck my shovel up,
and it projected through the
snow, which resulted in my
being located by the search party
and rescued — more dead than alive.
I had covered my face as well as I
could, and saved a little breathing
space. But it was a mighty- un-
pleasant experience, and one I
shouldn't care to repeat.
I had tossed coin to decide
whether I should go to Alaska.
Now I again consulted Fate to
decide whether I should go to
Canada and join the North-Westem
Mounted Police, or to Oregon. It
was Oregon which won, and if it
hadn't, I might be chasing outlaws
across the barrens of the North
instead of acting in pictures. Luck
or Fate seems to have played a
pretty prominent part in my career —
and, I suppose, will continue to do
so.
A pal of mine joined in my trip
to Oregon, and at Klamath, where
we wound it up, we prospected
about a little seeking something
that looked worth while. Finally
we went to a mutual friend and
discussed with him the feasibility
of leasing a cattle-ranch he had.
The upshot of it was that we got
control of the property and the
stock. Then began my life on the
range.
All our hard work, our optimism
and high ambitions, however, couldn't
make the ranch a prosperous under-
taking. We hadn't enough capital
primarily, and then there was a lot
of alkali, and one thing or another.
Result : I talked it over with my
partner, and he decided he wanted
to stick. But I'd had enough — and
the old gipsy spirit was in my blood
again. So I rode away after turning
my half of the lease over to him —
rode away, and never again went
near the place.
Did my failure discourage me ?
Not a bit of it. I believe that dis-
couragement is the best weapon
Satan has in his whole repertoire.
So I just buckled up my belt, and
hit the trail for San Francisco.
After a time, when I had begun
to worry a little, but not much, I
landed a job with Beatrice Michelina
doing " Salomy Jane." I played
one of the vigilantes, and doubled
in brass. After this engagement, I
worked in a sketch that was being
rehearsed for the Orpheum, but it
never opened. Later I worked for
a film company in a suburban town
near San Francisco, but though two
pictures were made, they were never
sold. I began to think that my lucky
star had started to pale its fire, and
AUGUST 1922
Pict\iK25 and Picturepoer
45
U^x'm^--
Jack Holt and Seena Owen in " Victory."
wondered whether I had not better return to Virginia,
when someone told me that Los Angeles was the place to be.
I didn't flip a coin -this time — for the very good reason
that I hadn't a coin to flip. I got to Los Angeles without
any over-supply of cash ; but I was lucky at once, and
secured a position with Reliance-Majestic. Then I went
to Universal, later to Lubin, back to Universal, and finally
to Famous-Players-Lasky, where I have been most of the
time since. I played all kinds of roles, many of them
heavies, but I never wanted to portray villains, especially,
and when I signed the contract before the present starring
one, it was stipulated that I should play leads.
But among the first Paramount pictures in which I was
cast as lead was one in which I thought at first that I
would rather play the heavy. It was called Held by the
Enemy, William Gillette's melodrama of the Civil War.
One was a Chinese story, called Crooked Streets, in which
Ethel Clayton starred. I had the time of my life in that,
chiefly because I am a devotee of boxing, and one of the
big scenes was a prize-fight, supposed to take place in a low
dive in Shanghai. Miss Clayton was referee, and a two-
hundred-pounder was my opponent. ■ We fought all over the
Lasky studio, and had a fine scrap.
Then I played several featured roles under the direction
of William De Mille — Midsummer Madness, The Lost Romance,
and After the Show. Conrad Nagel and Lila Lee were
associated with me in these, and we grew to be quite a
happy studio family.
When I was promoted to stardom, Mr. Lasky promised that
the stories purchased for me would be all strong, outdoor yarns —
the kind I like. He certainly kept his promise with my first
starring vehicle, The Call of the North, adapted from Steward
Edward White's popular novel of life in the Canadian wilds, " The
Conjurer's House."
Horses are still a source of much pleasure to me. I have four —
Robin Hood, a jumper with a record for this part of the country
of six feet eight ; Lady Barbara, and Tim Tucker, polo ponies ;
and Silver, a blue ribbon winner. I enter them at various
shows and contests, and have a number of ribbons that they
have taken.
Riding is, of course, a great relaxation for me ; and polo is a game
that I am very keen on. As to reading, I have an omnivorous taste,
and anything good strikes me as all right.
46
Pictures and PictureOuer
AUGUST 1922
Ra^arrwiFFirv!
or the first time in her screen
career, Ivy Duke will ap-
pear before kinema audi-
ences as a ragamuffin.
Discarding the silks and
satins of the society heroine
and the suits of the sports-
woman, Ivy has clad her-
self in the cottons and ginghams of a
poacher's daughter.
• " I am glad to have the opportunity
of playing such a part," she told me,
" because I have never appeared in
a character of this sort before, and,
until one has tried all kinds of parts,
it is impossible to know which appeals
to the public most. There is just
one drawback to this part of Nan
Wetherell— and that is her boots.
O-oh ! I have suffered agonies with
them, and do you wonder ? Just look
at them ! "
And she placed her foot on the
rung of the chair that I might more
closely inspect them. Real, good old-
fashioned hob-nails they were — war-
ranted to hurt the toughest foot.
Little wonder, then, that Ivy suffered
agonies.
This charming little actress proves
herself something of a fighter, too, in
this picture, and the boy actor, who
received a " clout " from her, is
ready to stand witness to the fact
that her style is quite good.
Guy Newall, who has personally
directed this George Clark picture, also
plays the leading part of Falconer.
He admits that it is one of the most
difficult parts he has yet played, for
almost throughout the picture he
appears as a blinded farmer.
Great difficulty was .encountered
when the incident of the blowing up
of a tree (which caused his blindness)
had to be arranged. The first tree
which was selected for the scene was
exceedingly stubborn, and although
six attempts were made to uproot
it, they proved useless. Finally, how-
ever, a less firmly rooted tree was found,
and the scene was filmed successfully.
Both Mr. Newall and the camera-man
took grave risks on this occasion, for
splinters of the tree flew in all direc-
tions, and the explosion knocked Mr.
Newall completely off his feet, as is
required by the story.
Commenting on her " supports "
in Fox Farm, Miss Duke says : " You
have never seen such a thoroughly
disreputable crowd as my brothers —
real ragamuffins they are.
" Mr. Newall and I had a busy time
keeping the boys near the locations
when they were not actually working ;
for, naturally mischievous (they were
all under the age of fifteen), they
would run away directly our backs
were turned. Then, when we wanted
them, they would be missing. One
day two of them had a real fight (not
a film one), and the elder boy pushed
the baby into the stream, with the
result that he had to sit wrapped up
in a big coat whilst his clothes were
hung up to dry — because we were
too far away from his home to get
him there and back in time to play in
the real fight scene."
Above : Ivy Duke as
" Nan Wetherell " in
the film version of
" Fox Farm."
Right : Some local talent
recruited in support of
the star.
AUGUST 1922
Pictures and Pict\tKe$oer
47
J^ris cilia tells
a secret
PRISCILLA DEAN, the beautiful Universal Star, write* :-
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The daily use of these two Creams
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The I^ady's Newspaper,
says:
"'FACKTATIIF*
certainly is admirable
in its results. Its
effects are Per ma tit nt;
it is delightfully clean
and easy to use."1*
"SUNDAY TIMES"
says :
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is Natnre*s awn
remedy, and of its
efficacy otie can
scarcely speak suffi-
ciently in praise. . . ,
/ have personally
used this restorative.
I can myself testify to
the truth of all it pro-
fesses to accomplish.
HvC.HIA, E.litress, 'Sec-
rets of Health & Beauty.'
•LADY'S PICTORIAL'
"As a real remedy
for restoring loss
of colour, it is a
thoroughly, reliable
preparation.
There is only one satisfactory method of
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How this can be done is shown in a
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This book tells of the remarkable results
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by the use- of "FACKTATIVE."
11 Facktative " is not a dye. It con-
tains no colouring matter whatsoever.
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If you are troubled in any way about your
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Address your application to
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j( laeket
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4&
VOUR little" packet
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When the pretty
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they are a pleasure to
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Sold in lid. 2$d. Sd. A lOd. Boxt:
RECKITT & SONS, Ltd.. Hull.
CHCakcri of Ztbo Liquid Grate Polish,
Brauo. Zebra Crate Polish, etc.
48
Pictures and RictureQoer
AUGUST 1922
Z O F
P A L Tvi B R^
miEAiif
IS*:
"* IMUTISM DHl«
HOB**"
StaroF;Willo the Wisp
Comedies, The BlackTulip&c
writes :-
After a hard da/ in the
glare of the Studio lights
the Fragrant purity of
Eastern foam Vanishing Cream
is wonderful]/ refreshing.
It is an excellent tonic
for the complexion. "
^^3t&^^
*eautu
With the unveiling of Summer, there returns the joy of long
days of brilliant sunshine — wonderful days at the Seaside and in
the Country — Tennis, Boating, Cycling, and other recreations.
What could add more to the joy of Summer than the promise
of enduring beauty ? ' EASTERN FOAM ' Vanishing Cream
holds this promise for YOU — the " Cream of Fascination "
will keep your skin beautifully clear and fresh throughout the
hottest day, imparting a velvety bloom to the complexion. It
will protect your skin from freckles, blistering, and other
unwelcome effects of the sun.
' EASTERN FOAM * should be applied not only to the face,
but to the neck and arms — it has a wonderful whitening effect
upon the skin. Its exclusive perfume is delightfully refreshing.
FREE DAINTY BEAUTY BOXES
Dainty Aluminium Boxes of 'EASTERN FOAM' — ideal for the pocket or
handbag— are being distributed free. Merely send, enclosing )Jd. stamped
addressed envelope for return, to The British Drug Houses, Ltd. (Dept. J.D.B.),
16-30, Graham St., London, N.r.
•EASTERN FOAM' is sold in Large Pots (Price Is. 4d )
by Chemists and Stores everywhere. Get one to-day.
EASTERN FOAM
VANISHING CREAM
THE CREAM OF FASCINATION
AUGUST 1922
Pictures ar\d Pict\jre$uer
49
I^he big event of the month to many
keen picturegoers is Nazimova's
png-awaited' Camille. Besides that,
listory and melodrama are very well
represented, historical events forming
he background of some of the best
Vugust releases. Pauline Frederick
md Sessue Hayakawa head the list
|)f dramatic stars whose offerings are
low due, and a fairly good all-round
iollection of diverse features will
:ompensate those holiday-makers who
trike a patch of wet weather. Mae
Murray's August release is one of her
'ery best : the story is on a par with
ler usual, but the setting decidedly
vonderful. The British favourites,
/iolet Hopson and Stewart Rome, have
>ne feature each. There are fewer
rood cowboy stories than usual, but
he Great North-West is well to the
ront.
Pathos is undoubtedly Sessue Haya-
kawa's strong point, and none
nows this better than himself. In The
iwamp, which he wrote for himself, he
las a role that fits him like the pro-
erbial glove, and strikes a genuinely
uman note. It is good drama, too,
nd is set amid the lowest quarter of
big city and in high Society. Sessue
lays a chivalrous Chinese fruit vendor,
'ho rescues the despairing heroine
nd her child just as they are on the
oint of starvation. Posing as a for-
jne-teller, he is enabled to unearth
and bring to book the rascally husband,
and after he has made everybody
happy he returns to his native land
and his native sweetheart, licssie
Love plays " Mary " in wistfully
charming fashion ; she will be seen
in several other films opposite Haya-
kawa later on. Frankie Lee plays
her little son, and Harlan Tucker is the
bad man.
The Hayakawas will be enjoying a
trip to their native land by
this time. " It is the first time we
have been home together," says Sessue.
" And we are planning to do the things
we've talked over for so long." Work
in Japan is not necessarily part of the
programme, for Hayakawa is leaving
filmland for a time, and will be seen
on the stage in America in the autumn.
Tsuru Aoki has made several trips to
Tokio and other places, but her famous
husband has always been too busy in
the studios for such a long trip. It
would be interesting to see the talented
pair in features made in Japan, for
the scenery there is wonderfully lovely,
though on a different scale to that of
America.
One of the best of the one-word -
titled films (there are ■ six of
them this month) is Pauline Frederick's
Salvage. It is a melodramatic story,
with mother-love as its leading motive,
and the star's two roles give her great
scope lor her thoroughly artistii gifts.
As a rich wife whose baby is l>oru a
cripple and allowed fas she supposes)
to die by us father, she leaves her
husband to spend the rest of her life
amongst the poor. Here she finds her
double in a drug fiend, who dies in
her room, whereon she impulsively
changes identities and pretends to
be the mother of the dead woman's
tiny daughter. Then, after tour reels,
she finds her own baby, and eventually
happiness. Milton Sills, Ralph Lewis
and Raymond Hatton play well in
their parts. Hatton has a Chaney like
cameo of a crippled beggar. Milton
Sills plays a likeable fellow in a likeable
fashion. lie i> one ol the best liked
leading men of to-day.
Pearl White has an unusual role
(for her) in Beyond Price. She
plays a neglected wife, whose rather
fantastic adventures lead her into
situations as thrilling as those j(l her
serials. "Sally." the heroine, wishes
for three things to be a millionaire's
wife, a famous woman, and to have
a baby's arms around her SI,, is
married to a business man, .md by
an ingenious series of events, everyone
of her desires is granted, vet at the
end she is glad to remain in her original
position, but neglected no longer. The
Society scenes are very well stage! and
dressed, and Pearl's gowns and a
wonderful fur coat she wears will
50
Pictures and Picl-\jreQuer
AUGUST 192
•■Ithel Shannon '. < > . <
Fashioned Bo "
^* PI<
Vfaxtp
PICTURES^
FOR PICTUREGOERS. I
| Our BARGAIN l'A(KI I of PICTURED
POSTCARDS of FILM FAVOURITES. |
Containt (SO »H different, ai selected by us. =
Price THREE SHILLINGS Post Free
MARY PICKFORO
Kraut iful portrait c>. [In world-wide favourite? =
printed ii) brown on art paper, size 25 ins. by 21 =
ins Ideal for framing. Securely packed and =
- post free toi I - Ait study oi Mary, size n ins. =
= by i ,A ins , prjnted mi two colours on plate-sunk =
- mou'nl with autograph post free for 46 |
PICTURES ALBUMS of Kinema Stars ?
= No. ( contain! Mary Pickford, Anita Stewart, =
Norma I'almadge, Alice I'-r.i.lv, Madge I
I <l.:li Storey, Aim Pennington, Ora Carew.
-" No, ,■■ contains Douglas Fairbanks, Irving =
* ummings, Marshall Neilan, Warren Kerrigan, =
= Ralph Kellard, I1., k. I incoln, Antonio Moreno "
[ack Pi* kf'ord.
- Reproduced in the popular brown photogravures
= style from the l.il :st photographs. Sixeof portraits
"' -:< hes h '. 6 i tii lies.
= Price 1/. each set or the two complete foi 1/6 =
l post free. |
1UTHE PICTUREGOER Portfolio of!
Kinema Celebrities
= Contains the following SIXTEEN Magnificent =
= Photogravure Portraits :
Sizi? ><> ini has by 6\ inckes,
= .Norma I'almadge, Mary Pickford, Nazimova, jS
| Pearl White, IJouglas Fairbanks, Constances
: ralmadgc, Kalpli Graves, Charles Chaplin, =
= Pauline Krederick, Mar) Miles Minter, Lillian ji
|Gish, Thomas Meighan, William S. Hart. §
5 Kichard Harthelmess, Jackie Coogan, William =
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| AH woi/li funning. I'nee I/-, ot pest free 1/2. §
1 Price ONE SHILLING AND TWOPENCE, post fret |
PICTURE POSTCARDS. I
= Hand-coloured Photogravures of all th<- popular =
een lavourites ■ =
= Mary Pickford, Charlie Chaplin, Douglas =
iks, W. S. Hart, M< 'iin.i and Constance =
I'almadge, Pearl White, Stewart Rome, Violet =
; Hopson, [vj I lose, ["oin M«x, Dorothy (Jisli, =
Lillian tjisli, Willi. on Karnuro, Elsie Ferguson, =
Sessue Hayakawa, Piggy Hyland, [' homas =
in, Mar) Miles Minter, Wallace Keid,|
Klinn Lincoln, Charles liay, \ntonio Moreno, =
Owen Mares, Mazimova, Marj Odette, F.ddieE
Polo, /oe Kae Francis Carpenter, < reorge Walsh, =
Vnil . St< wart, and liuii.ln-.ls . I others,
Prici 2d. ra«-h, postage extra, or any 12 for 2/- =
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SEND A LAW) LOK OUR EREE COMPLETE LIST I
01 KINEMA NOVELTIES.
"mCTURES, Ltd.,
88, Long Acre, London, W.C .2
iiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiii " iiiniiiiiiiii,;
interest feminine film fans. Vernon
Steel, who plays opposite Pearl White,
was well known on the English stage
before he took to film work He
conies from Santiago, and is best known
for his Shakespearian roles.
Stud. os in wives abound this month
After the neglected one in Heyond
Price, and the unhappy one in Salvage,
we have the thoughtlessly extravagant
species in May Allison's Tixtravagance.
She is a wildly selfish little lady,
thinking only of social affairs, gowns,
and being well in the swim with her
aristocratic friends, And as her hus-
band is only a young lawyer, he resorts
to forgery to produce the money to
satisfy his pretty wile's expensive
tastes. It is then that her real love
for him gives her the courage to plead
with her father-in-law and uncle and
eventually save the sinner from prison.
The acting is natural and convincing
throughout, and the characters are
remarkably good Scenery and set-
tings are artistic. Robert Edeson
plays a stern father, and the harassed
husband is portrayed successfully by
Theodor von bit/.
Harry Carey has nothing out of
the ordinary to otter this month.
Human Stuff, in which he stars, is
quite commonplace stutt. It has
good actors, and really beautiful set
tings, but the story is the well-worn
one of the Easterner who goes West
to run his father's ranch. There is the
usual wicked Mexican foreman and
persecuted heroine, bul fortune Favours
1 1. ii n Carey, and his daring and in
genuity outwit his enemies Einally,
of course, he wins the heart of the
young lady of his choice. Kuth Fullei
Golden (Mrs. Care\ plays the hero':
sister and Man Charleson, Rudolpl
Christians and the two cowboys will
are always seen with Care) mak<
up the cast Thrills are few, but twi
" killings " provide dramatic moments
and Harry Carey is a pleasing lien
In at ting, shooting and riding he ii
the perfect player for a role oi tin
type
Dutch histon does not oft
itself reproduced t>\ film makers
so thai i'hi Black Tulip strikes in ve
note amongsl costume pictures It i
adapted from Dumas' famous
of how an innoi out tulip growi
becomes a supposed conspiratoi agains
William of Orange. He is cast nn>
prison, and it takes his gaolei = prett;
daughter and main feet of interestini
adventure to set him free again II.
scenes, taken in the picturesque tuli]
fields of Holland, were made at I Liar
lem, the heart of the industry in thesi
flowers , and British and Hutch pla) i I
share honours in this well-producei
and appealing production The players
amongst whom are Gerald Mc< arth)
Zoe Palmer, and Coon Hissink wea
thou quaint costumes ven naturall]
and the photographii elfects ari
charming, both in ind md outdou
scenes
1 "I To like George Walsh as m athleti
V \ best i ei t.mib • i coukl in
-n e him honours in the u I ing • lass i I
the strength of his work in /'■ ■
TV, h 1 [e has i pool and nv.tde to
ordei stor\, which gives him no i ham
for stunts, and he doesn't toko ivha
.0 i mi; oppi>i ! unit ies the si !■]■■
AUGUST 1922
Pictures and Picture poer
51
has allowed him. The plot is melo-
drama, and very wild at that , it
includes a murder, an innocent man
being sent to prison, faith cures,
scheming and plotting galore, and a
train wreck for the final effort. As tin:
coal-miner hero, George Walsh has to
stand about for a good deal of the
time; the rest of the cast over-act,
all save little Billy Gilbert, a serious
child artiste, who is sincere and pleas-
ing. Edna Murphy, of Over tin 1 1 ill
fame, plays opposite Walsh ; she was
starred for a while, but has returned
to the leading lady class again now
Another domestic problem is un-
ravelled in Too Wise Wives.
Very skilfully, too, though there is
a bit too much moralising. Rich
American business people (screen
variety) seem always in trouble over
their domestic affairs, and the two
couples shown in Lois Weber's photo-
play have their full share. One wife is
too wifely and the other is not what
she seems, and the developments when
all get together are interesting and
instructive. The acting, notably that
of Claire Windsor, is very fine ; Mona
Lisa, too, is good as the vampish wife,
and Louis Calhern ami Phillips Smalley
play the husbands capably.
Emmyr Whelen's August offering
< may cause a further epidemic of
aspirants for the career of a movie
star. For it is the story of a pretty
factory girl who goes to New York,
where she finds fame more speedily
and easily than a real live maiden
would do. She writes the story of
her own life, is filmed as its heroine,
and at a private show of the film is
seen by her own father - in - law.
Picturegoers may remember a slightly
similar incident in " The Girl on the
Film," the Gaiety Musical Show in
which Emmy Whelen was seen some
years ago. Here, too, discovery was
made by film, but the stage play was
pure comedy, whilst the film is drama.
Frank Currier and George Stuart
Christie play respectively a scheming
father and his weak-willed son
Six favourite British players may
be seen in A Sportsman's II if
with popular Violet Hopson at the
head of them. Gregory Scott plays
hero, and Clive Brook the villain,
a crook sporting character to whom
the heroine loses her heart. Of course,
it's a racing drama, with main- clevei
racing scenes. But there are also some
excellent shuts of Trafalgar Square and
Cockspur Street, which cost the pro-
ducer much trouble to obtain. A
Sportsman's It/ / r- is Walter West's
ninth racing drama; he practically
introduced these racing stories to the
British public. Almost everybody
is interested in this sport from one
angle or another, and the " behind the
scenes " glimpses with which tin pint
deals are sure to appeal universally.
Mercy I latum and Adeline Hayden
Coffin and Arthur Walcotl complete
the cast.
The Fourth of July spirit got well
into a Sennett Comedy Company
working way out in 1 >ry Lake Desert.
Billy Bevan and Mildred June (she's
the girl on the cover! suggested that
they try to put a little life into the
tiny village of Dry Lake, which is
just the kind of place its name suggests.
So they l*bugh1 in all the available
fireworks, though they were last year's
and nothing to boast about, and
posnd members of the company in
each of the little town's four corners,
wilh the order to let go all together
at a given time. But they'd hardly
started before the village constable
was on the job,
and though the poor
Patsy Ruth Miller's
mother interrupts a
mud pie interlude.
flPPP
LOVELY
HAIR.
Dear Barbara,
I'm writing to you while mv
hair is drying. I a»i going out
tu a dame to-night, and I do
to look rather specially nue 'cos
I've gal a new frock, and some
rather nice people arc going to be
there -and, well, von kn>
I KNOW YOU WILL SA\
I'm an idiot to wash my hair the
very day I'm going out, /, >
know how distressingly limp and
impassible my hair usually is
for days a iter a shampoo. Well,
I've discovered
SOMETHING RATHER
WON PER EEL
in the shampoo-line. Yon use
a big teaspoonful of stallax granules,
which, by the way, you obtain
from the chemist, dissolved in a
cup of hot water. It foams up
gorgeously and makes it so easy
to wash your hair. Well, after
that, it dries eve* so quickly ana'
you can
DO IT UP AT OXCE
and be quite sure that it's
to look its very nicest. Isn't it
good of me to tell you all this ?
But I'm so excited, I must tell
someone. Eve only used it two
or three times, and my hair is
already much thicker, ever so glossy,
and is even developing a decided
tendency to curl .'
Your overjoyed,
ESI EL I.E.
s£-m&-
52
Pictures and PictureQuer
AUGUST 1922
I 'curl Whik ind Robert Elliott iti
" . I I -'t;! ii Paradise."
man couldn't run four ways at once,
yet he succeeded in making one sub-
stantial capture. Six-foot-seven "Tiny"
Ward was caught with his weapon in
Ins hand it was an extra special
rocket and cjapped into goal. But
only for an hour; and now they're
arguing whether it was the eloquence
of the manager who procured his
release or the fact that he was a very
tight fit in the cell.
CVeighton Hale is not starred in
; A Child l-'or Sale, but he stands
out from amongst a good cast. As a
struggling painter who loses his wife
and has to part with one of his children
to a wealthy widow for a time, he
demonstrates the reason he is now a
member of the Griffith stock company.
The picture is highly moral, and
preaches against profiteering on the
part of landlords. Julia Swayne Gor-
don over-emphasises her role of a
woman with a past, but Bobby Con-
nelly, Gladys Leslie and William
Tooker arc extremely good. There
arc landlords everywhere, so that
most picturegocrs will sympathise with
the down -trodden tenant hero of the
film. Crcighton Hale will be seen in
Griffith's next production, an original
story titled (at present) At the Grange.
V n alternative title to The Witching
a Y Hour might be. What IVill-Powet
Can Do, and the film which stars
Elliott Dexter and Mary Alder) is a
powerful drama founded on an Ameri
(.in stage success. The story shows
signs of trying to take both sides of
the question at once, and endeavours
lo prove either theory correct, so that
believers and disbelievers in telepathy
ought to feel satisfied. The characters
are very well drawn and the acting
Inst - rate. Mary Alden has a
mother " part once more, and Ed-
ward Sutherland gives a good study of
the intensely nervous young fellow
whose fear of a catseye tie-pin leads
him to murder a man.
Ben Hur," the classic that has
been the subject of such keen
competition this year, has fallen at
last to Goldwyns. Almost every big
producing company at one time or
another made a bid for it, and Douglas
Fairbanks tried more than once to
secure it for himself and Mary. The
dramatic company who owned the
rights have made quite drastic stipula-
tions that cast, scenario, and all details
of the film version must be approved
by them. This, despite the fact that
the purchasers paid much more than
one million dollars for the " right to
picturise." The scenes in Italy and
Palestine are to be made on the spot,
but the principal artistes will be
American. A year is to be spent in
making " Ben Hur."
It is a pity the last reel of The
Passionate Pilgrim is not up to
the standard of the first lour. It
looked like being a great tihn, and
even with its conventional ending it
still remains much above the average
Matt Moore, the star, is the cleverest
of the brothers, ami is well cast as
the newspaper man who is too fond
of depicting things as they are to
succeed, lie bet omes ,i famous novel
i^i later on, and is a most interesting
figuri throughout Samuel Mcrwin
wrote the series ol stories of which
Henry Calverly " is the hero, and he
pursued his " pilgrimage " for many
months m an American magazine.
Most of the characters in the stories
appear in the screen version, which is
rather episodic. Rubye de Reymer,
Matt Moore, Charles Gerard, Van Dyke
Brooke and Julia Swayne Gordon are
a few of the names included in the
all star cast.
Matt Moore is the youngest of the
popular Irish stars, and has
been in the movies for three or four
years. He was leading man for
Marion Davies in The Dark Star and
(ietting Mary Married, and has recently
been playing lead in Sisters with
Scena Owen, in which as " Peter " he
plays once more'a likeable man who gets
the worst of everything. Matt doesn't
believe in make-up : whenever he
can he likes to appear on the " set "
an natural, and even if the director
insists upon it, he uses as little as
possible. He doesn't care whether he
looks old or no, but he does care
whether his facial expressions register
or no. " And you can't emote," says
Matt, "when you're plastered with
grease-paint till your face looks like
a mask."
Charles Ray has a delightful comedy-
drama in An Old- Fashioned Boy,
which is by turns funny and senti-
mental. Aided and abetted by some
amusing kiddies who have been con-
signed to his care, he keeps his too
self - willed fiancee in quarantine by
getting a certificate of " measles "
in the house. Ethel Shannon plays
the properly indignant damsel, who
however, remains loyal to her sweet-
heart amid somewhat trying cir-
cumstances. Ray is always life-like
and natural in his own particular way,
his toffee-making performances and
the scene in which he visualises
himself as a lonely old bachelor being
particularly well played. Frankie Lee
and Gloria Joy are the principal child
players, and the baby who cries so
persistently and pitifully is Virginia
Brown.
F"ine acting and good characterisa-
tion save the rather slow action
of The Marriage Pit from dullness.
It is a social husband and wife story
in which two pairs of partners are
concerned. A wife who has married
to save her father, a vampish dancer,
and their respective husbands play
out their drama in and around a
stockbroker's Wall Street office. The
hero nearly loses his fortune and his
wife's love, but all ends as it should,
and the strong, silent man (Frank
Mayo) comes out on top. Lillian
Tucker plays his misunderstanding
wife, and Dagmar Godowsky and Ray
Ripley a swindling pair.
The heroine of 7 he Ordeal <>/ Odette
certainly had i nerve-racking
time in tin- big scenes of this photo
play, She was .1 flirtatious little wife
pursued by an unscrupulous financier
':i French one, not the traditional
American movie specimen), and though
it w;is partly her own faull , Emma l.yn,
who stars as "Odette," is appealing
and lovable always It is an emotional
story, made in France, and fine sea-
scapes, lavish dance scenes and first -
rate acting make it an artisti.-
entertainment
The author of The Heart of Maryland
must have heard " Curfew Shall
Not Ring To-night," for he has made
his heroine swing out upon a bell to
save her lover's life. Only, as this is
a story of the days of Lee and Lincoln,
it wasn't a curfew bell. Hut the film
boasts of a replica of the sexton of the
familiar poem white haired, wrinkled,
deaf, and complete with comforter
and the traditional straps. It is a
very fine spectacular drama. Besides
the Civil War scenes, some clever
trick photography provides some urj
usual effects. Battle and strife are
not the keynote of the film, but a
rather complicated romance between
a Northern man and a Southern girl
has been emphasised with special
attention being paid to atmosphere
and detail. Catherine Calvert plays
" Maryland Calvert,' the heroine, and
Crane Wilbur and Warner Richmond
head an excellent cast.
^Jaturally, the Marvland Company
N went South to make the war
scenes, and loaned a wonderful old
mansion from an old lady of eighty six.
This they restored to some of its
pristine glory, and it, and the acres
of trees surrounding it, can be seen
in the film as " Maryland's " home.
The cast was reinforced by inhabitants
of the near-by town, who gladly-
ransacked attics and trunks for ancient
Confederate uniforms, crinolines, and
hoop skirts. When two real old Civil
War cannon were discovered reposing
in the back garden of a house 111 the
town, Tom Terriss was delighted, and
commandeered them at once. The
chapel from which " Maryland " swings
aloft is a real edifice, not a studio
set, and is still used by the coloured
folk as a meeting-house. The scenic
backgrounds in The Heart oj Mary-
land include General Grant's head
quarters. Windy Hill Manor, and the
Devil's Table, which overlooks the
beautiful Mississippi Valley.
^7azimova is Camille III. in the
*i history of screened classics ;
numbers one and two were ( lara
Kimball Young and Theda Bara. The
C. K. Young version kept to period,
but Theda Barn's photoplay was
modernised, and Alias is almost
Futurist, in its settings at any rate.
to begin with, we see a peculiarly
urved staircase down which the
heroine, wondrously arrayed, glides.
ller rooms, too, are decidedly freakish
in decoration, hut the settings have
a beauty ol theii 1 wn and express
Nazimova s bizarre screen personality
perfectly < amille herself, "Duval
(Rudolf Valentino) and Duval's
Father " 'William Orlamoild) are the
only characters the others are the
merest shadows, which is not according
to Dumas Valentino is excellent as
• he young Frenchman, standing out
quite as much as the star herself.
Mia is here her own producer, and,
contnirv to certain predictions, she
has succeeded in making .1 very fine
film As petted Queen of Montmarte,
or pathetic, forsaken little consumptive,
she realises her con< eption of " (amille'
and is quite her old self once more
She wears some startling clothes, and
iit»a short insert dealing with Manon
l.cscaut looks delightful in while wig
and satin gown
Ann Cornwall is best known for her
pronounced success 111 The Cop
perhead, and with Eddy Lyons and
Lee Moran in Ei'erythmg Hut the
Truth. She appears this month in a
real old time melodrama. The Girl
ni the. Rain, all about a counterfeiter
and his sister. Hero and heroine
always succeed in outwitting those
about to pursue them, and ways and
means of escape from police and
sheriff are always waiting just where
the pair can most easily find them
But if von like " mclos," you'll like
The ' ''»7 in the Rain, for it is well
ac*cd .o">d has an fxi iittg finish.
Lloyd Bacon, Jessalyn Van Trump ami
[ames faddy are the chief supporting
pla vet s,
til Mae Murray and
^£tjj£- Lowell Sherman in
& Wj " The Gilded Lily."
TX/Then we put it upon record that
V V the heroini ol / hf. Gilded Lily
is .1 1 harming dancer, noted for the
airiness if hei attire it is hardly-
necessary to add that the name of the
star thereof is Mae Murray She gives
a better performance than usual,
portraying a character very much
akin to " Clco " ol Peacock Alley,
for despite her spectacular stage caret 1
she longs for the simple life So she
marries and settles down. And then,
not the dancer, but the husband pro-
poses a return to the white lights
Her second venture into romance is
more successful and I lie end sa! isfyingly
happy I he dam c si enes are, as usual,
magnificently staged and lit, and
devotees of the near sensational will
find these alone well worth a visit.
Coloured effects at the commencement
and fine lighting throughout make up
an ;irtisti< achievement on the pro-
line nig side, and as the story is well
told and the sub-titles apt and
restrained, the film deserves inclusion
among the supers. Lowell Sherman,
Jason Rolands and Charles Gerard
are the 1 hief male players, and Lowell,
for a change, plays hero, not villain.
To Barnum we owe; the famous
statement " there's a fool born
every minute," and the famous show
man was right. "Jimmy Knight,'
the hero of Douglas Maclean's One
a Minute, took the adage to heart
when he invented a wonderful patent
medicine that cured everything. lie
had to put over something, becaus'
'- father's drug store was on its ,t
legs, and he ma ' K,s -••->( xture exceed-
ingly bitter because he thought it
more effective. And though he- was
54
Pictures and Pict\jre$ver
AUGUST 1922
LADIES' I
OILET
RAZORS
TENNIS. BATHING AND DANCING
demand the use of tin- Diana Razor fen ;i safe
and easy method of removing the hail from uwier
the arm. Note from the illiistratii.ii the domed
top and patent curved blade, which I il the In. How
.if the arm perfectly ind makes it impossible to
CUt the ill sh.
Yon cannot destroy hair by chemicals. The
growth must h periodically removed; and cheni-
i. als are dangerous to the skin, evil smelling, and
a . oust nit expense,
h'nr .1 mi ,(ii - m. years Mail has remoi. I his Iward
'!■ i ke I ,tei I I ..... It- . mil ill I!..- . ^ ,„, shai
i i . rn. .". kvlii< I. ..... five hat . lean, on.. .-Hi
.11.-. Iliat o ,llw.,ys ■.., .||,|..mIi.,i: S .■ I..,. I!.-. I,, .,,
'make .1.." » .il. the ..r.l... .iv s.inn , ,/,,r as useit by llieit
males, l-.iit thi> is designed for rial i.r . i.i
..n. I .t .s I. -I..v, t.. try and -. the h. lows of the
arm. 1 nolc at the .ltu.it..-., ..-. ... I ihink how .piick mil
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Une uutlny .... the Diana la-as a lifetime. The price .-.
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I ml] and I., alth, Ihc I).,.,., is inrti nsal.le toall
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ductioii it lias heen I. ■•"■• i.: I.y large i iimlx rs
... the highest . ireli . Fllt.sc who I.,.. ,,.
drlighled with the i ... a manipulation, and the saving
i.i time anil money.
Price with
blade
The Talmndges — Mother Talmadge, Constance, Natalie
and Norma pose with Buster Keaton in a fumily group
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Beautiful
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If you want perfect EYEBROWS
like vutif favourite Film Star, visit
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LONDON. W.I.
' it-ii and "ti .. rting vne
Drug Ait, he did a roaring trade, and
finally cured the judge trying the
case. The film must not be analysed
too closely, for though it is not
over - burdened with pint, it is
bright, breezy and thoroughly amusing.
Douglas Mat lean seems inclined to
over-emphasis "f expression at times,
but he is very good as the persuasive
Jimmy.
The month's best action him is Gel
Your Mtui, with Buck Jones
cast as ii miner instead of the con-
ventional Western hero. But we must
hand it to Buck this time, for without
any ranch scenes or cowboy si tilt, he
puts in excellent acting. Good sus-
pense and excellent photography is
shown in the early scenes of the min-
ing disaster. Later, as a North West
Mounted policeman, Buck is soon in
the thick of stunts, hard riding, and
fisticuffs. The backgrounds are good,
also some realistic, snow and blizzard
scenes, and the light between hero ami
villain at the end gripping and con-
vincing. The villain is a Scotsman ;
so is the hero, which accounts for the.
pertinacity with which pursued and
pursuer stick to their guns !
By this time next year melodramas
by the do/en will be showing
on British screens. Already we have
sampled a few . Why Girls I eave Home
was a shining example ; Way Down
East, loo, was " melo " at heart despite
its Griffith camouflage, A list of one
pioai'^iiig coru.pb.uj s * '.^tres in-
cludes titles like these : The Girl
Who Came Back, Lottie the Poor
Saleslady, Child Slaves of New York,
Back to Home and Mother, The Opium
Ring, and Asleep at the Switch.
'"I^he book titled " Nomads of the
X North " is all about a pair of ani-
mal chums. The photoplay is chiefly
concerned with a wicked North-West
factor, his equally despicable son and
a persecuted girl, though the pet bear
and the dog appear in many scenes.
The story is picturesque and melo-
dramatic, despite its many gaps, and
the- production ingenious, with a few
really thrilling scenes and a fine
conclusion. Betty Blythe is totally
un-Sheba like as the Girl of the Great
North-West, Lon Chaney enjoys him-
self ina character role, and Lewis Stone
gives the best display of acting of
them all. As a man who makes himself
a martyr to duty, Stone is first rate,
and is as convincing and manly as a
James Oliver Curwood hero ought to be,
^'he opening of / Ridin' Romeo is
not unlike the first reel of
Douglas Fairbanks' The Nut. For Tom
Mix is seen as a cowboy with a passion
for inventing labour-saving devices
for .the home. Ingenious mat hinery
cooks his meals, washes the dishes,
etc., etc. But the hero is by no means
la/\ , in fact, he isn't still a moment,
even in the quiet moments of the film,
of which there arc not many. Stunts
on horseback, up mountain sides and
'AUGUST 1922
ncr\iK25 and rictureQuer
55
I uver cliffs abound. Tom wrote his own
j .story, a wholly farcical one, which,
however, will delight all good and true
Mixites. Mix is not a remarkably
wonderful comedian . it is in his
horsemanship and the realistic thrills
with which the ..nee is peppered that
lie is inimitable Horse "Tony" co-
stars with Tom, Rhea Mitchell is the
girl in the case, and Eugenie Ford
has a small role.
/"Mara Kimball Young has a gorge-
V> ously costumed social drama
in Hush, the best of her two August
releases. The plot, which is of the
sentimental problem variety, proves
that it must be a terrible thing
to have a wife who has something to
uiifess. The " something " in question
took place long before she met her
husband, but she persists in her too-
conscientious idea of unburdening her-
self concerning it. When she turns
an adoring husband into a jealous
and suspicious specimen, it causes her
much tribulation and gives Clara
Kimball Young opportunities for
dramatic acting and a display of
wonderful gowns, many pi which are
of her own designing. Frank Glendon
is properly agitated as the jealous
husband, and Kathlyn Williams, Ber-
tram Grassby, and Beatrice La Plante
make up a strong .supporting cast.
The other film, Marrying Money, is
a slight comedy about the mutual
discomfiture of a pair of ir^sxar-
hunters.
Having completed The Hands of
Nara, Clara Kimball Young's
next is to be a celluloid version of
Enter Madame, Gilda Varesi's enter-
jtaining play, which was given in
1 London earlier in the year. Clara
should do well as the temperamental
prima-donna who nearlj abandons hei
husband .mil then decides that lie was
worth the winning and proceed.-, to
re-vamp him. Elliotl Dexter will be
the leading man; after which he is
due to star in . In Old Swi etht a t \)
Mine .
Always Lay your Bills " is the
moral contained in Sham.
which features Ethel Clayton. Ethel
portrays an extravagant society girl
whose income is small and whose
creditors are growing impatient It is
either a loveless marriage or a sale
of a family heirloom. Ethel chooses
to sacrifice the heirloom rather than
herself, but finds they are counterfeit,
having long since been sacrificed to
pay her father's debts. So she converts
herself from the gentle art of " graft-
ing " with great vigour, and is
eventually enabled to marry the man
she loves. The change in the heroine's
character is excellently shown by
Ethel Clayton, who invests her with
a quizzical kind of humour well
contrasted with moments of passionate-
fervour. Walter Hiers supplies some
broad humour, and Theodore Roberts
has a characteristic father role Ethel
Clayton took a long holiday from
screen work, but she is now back again
at the head of a company of her own.
Will Rogers is always human
ni-fl livable, and his films
make pleasant entertainment. '/,. i
Will Be Boys, his August offering,
shows him as a good-natured Irish
ostler whose first thought when he
comes into a large fortune is to give
his boy-pals a real good time. Adven-
turers try to swindle him and frame up
ingenious excuses to separate him and
his cash, but right is triumphant in
the finish. Humorous situations
abound, likewise sub-titles in the best
Will Rogers vein, and clever touches
of sentiment intermingled with them
give just the right balance to a none
too strong story. Irene Rich is once
more the leading lady, and some clever
child actors seem to enjoy
themselves in the
say it with
melons
scenes.
I ) ktnclu r>\\ eel started hci I 'i<
J J career in o uned} a nd 1 1 •nicd\
d iiin.l I'hen she ] udil lied " her
i I into fa me, and a sei ics ■ I si mi bre
^t i dies in « oma "In 'I nl fi illi iu id I u
Hi I tlh '■':' ! >;:' H U ib ! -lie
it delightful .1^ an impudenl vonng
mis* w In ■ calm l\ annexe-, a ninli ll>
bachelor and passes linn "II as hei
husband to annoy her fiancee I i
incidents follow then a gener.il melee
and a surprise ending Edwin Stevens
and Albeit Roscoe are the victimised
I >.k helor and lover
Napoleon's Court, Napoleon him
self and many picture- que scenes
and characters appear in I' nil,
Bernac, which was made ml,
with popular Rex Davis the only
Englishman in tin- cast. The story is
romantic and adventurous, with two
good fights and a thrilling chase.
M. Ducien, who plays Napoleon, M.
Chaumont in the title role, and Ke.\
Davis score the heaviest, many ol the
others being inclined to over-emphasis
besides being somewhat overburdened
with make-up Rex Davis makes a
properly picturesque and gallant
Louis de Laval.'1
Stewart Rome and Joan Morgan
co-star in Dicky Monleilh, a
British -made kinematisation of a
Tom Gallon novel. Stewart is
excellent in his Sydney Carton-like
character, though the sentimental
• ., ■ v will annoy screen lovers who are
critical. r..,." Morgan looks quite
unlike her dainty sell is" !own
trodden little lodging house slave\
but as the heroine she is quite sal
fying.
A little more humour would have
been welcome in the develop-
ment of Beau Revel, especially in
the final denouement. The beau
(Lewis Stone) is a middle aged dandy
who thinks himself irresistible where
feminine hearts arc concerned lie
also considers himself the pn>p< r judge
a> to whether the girl ol Ids son's
choice is worthy of him. The elderl)
Lothario tries his system upon the
girl (Florence Vidor - in love
with her. Father and son come to
loggerheads, and when the heroine
denounces the beau, he commits
suicide in dramatii fashion. I he
characterisation of Beau at the
beginning leads one to believe- thai
he would have run true to form till
the end of the chapter, not taking
matters seriously enough to take his
own life. Lewis Stone makes a fine
" Beau," and Lloyd Hughes plays
the son.
Alice Joyce has heard the call
of the KliegS and will return for
at least one pi< tine this autumn. |ean
Acker, too, the pretty little star of
Checkers, has decided thai movie
making is the only life Jean has been
an absentee from Si reenl and for two
years.
/ \~ I w / c ^
y \~* W f
Kj t\erc\a
Cc^rols
[// the spirit should move
you to bitr^t into song about
yout favourite ■•tin lure's
your opportunity
lielow ive give you
some rhymes selected
I rom our letter-bag,
ami thi~ feature will
be continued whenever
spare permits, prizes
being awarded, to all
readers whose rhymes are
printed. Send your songs
about the stars to" Carols,"
PlCTl.'RKGOER, 93, Long
Acre, W.C.z.]
TO MARIE DORO.
" Readers, if the Muse be willing,
Enter where the beans are spilling.
Where the Mixites Nine are milling,
And the Farnum Fans are killing,"
Says our host ; so while
Every picturegoer's craze is
Threading the poetic mazes
Through such controversial hazes,
Marie, would I sing your praises,
I ti the latest style.
And, .'ear Aiane, I may mention
While my fate is in suspension,
That should this, my poor invention
Reach the forests of contention
Where the brickbats are.
Ere they punish me severely
I intend to tell you, merely,
Truly, fitly, and sincerely,
That you're great, and Filmland clearly
Has no brighter star.
Thus will I conclude my mission
Of description, definition,
Or allotment of position,
Hoping in some blest edition
These my lines to see,
My poetic soul contenting ;
So I'll send them unrepenting,
The admirers supplementing.
Of an artiste representing
Ml that Art could be !
VER] ias (London).
A RIDDLE-ME-REE.
My first is in " Charles," and also
Lane,"
My second is in " Gail," but not
Kane,"
My third is in " Mary," but not
" Hay,"
My fourth is in " Zoe," but not
" Ray."
My fifth is in " Pauline," but not in
Starke,"
\I\ sixth is in William," but not in
" Parke."
Helen Chadwick
and her mother.
My seventh is in " Francis," but not
in " Forde,"
My eighth is in " Warwick," but not
in " Warde,"
My ninth is in " Marjorie," but not
in " Daw," '
My tenth is in " Walter." and also in
" Law,"
My eleventh is in " Cameron," but not
in " Carx,"
My whole is the name of my favourite
star.
R. S. (Freshwater Ray).
Answer :
ELMO LINCOLN.
MY LADY OF DREAMS.
I write of Violet Hopson's charm
(She holds my heart within her palm):
For Violet is the very queen
Of all the stars upon the screen.
Her eyes, sincere, withal demure,
Her soul reveals, so clear and pure :
And Violet's smile doth make me feel
As if before her I could kneel.
Her matchless form of perfect grace
Is worthy of her lovely face,
And she, the fairest to be found,
With glorious waves of hair is crowned.
P. L. (Litherland).
A RFID CAROL.
W's for Wally, a hero of mine;
A is for acting, at this he's just fine ;
L is for Love, which he perfectly plays,
Love that with him in real life ever
stays.
As his appearance, he's great all the
while.
C is the charm of his wonderful smile.
F's for the excellent pictures I sec.
They all stand lor Wallace, the one
-t,u lor nic
\ I: Gibraltar
PULLING P1CTURKS 10 PIECES
[This is your department oj Pj< n kk-
GOER. In U we deat each month with
ridiculous incidents in < urrenl film
releases. Entries must b, made on post-
cards, and each reader must hare his
or her attempt witnessed by two other
readers. 2/0 wilt be awarded to the
sender of each " Fault" published in
the Pictukkcokk. Address : " Faults,"
PlCTUREGOER, 03, Long Acre, W.C..2.1
Not a Ford.
In Episode Fight of Flmo the Fear-
less, "Elmo" is being pursued by
a motor-car. He drives to the edge
of a cliff, gets out, and his own car falls
over, turning somersaults all the way I
down, and lands at the bottom over-
turned, none the worse for the fall.
Elmo " follows it, turns it on its
wheels again, and sets off at full speed.
I should like to know if the car, being
in running order after such a " ter-
rible " fall, was made for the pur-
pose.— (D. T. (Sheffield).
A Peter Pan Baby.
In the film, The Fdge o' Beyond, a
new-born baby is carried on to the
verandah in a frock edged with
beautiful lace. Soon afterwards the
baby dies, and then a sub-title appears
which states that eight months have
elapsed, and the mother is seen think
ing of the baby. The baby is then
shown sitting on the floor laughing
^hewing a mouth full of teeth, and is
still wearing the frock edged with
beautiful lace. Do Rhodcsian babies
never grow bigger, and do they cut all
their teeth when they are about two
months old ? -D. F. M. (Camden
Square).
Where Did the Hats Come From ?
The Arlington Mystery provides an
amusing fault. Franklyn Farnum, as
" Arlington," is seen sitting with
" Margaret " in her home when a car
draws up, and three men alight and
cover them with revolvers. " Arling-
ton " grabs a rifle and points it at the
men backing away with " Margaret."
They dash into the waiting car and
drive off bareheaded. The ne.vf
minute they are seen driving along.
The woman had a huge hat on, and
" Arlington " a cap Where did they
get their headgear from ? M. R.
(St. Helens).
A Comedy of Errors.
In The Iron Trail, O'Neil, the " Irish
Prince," is compelled to swim for half
an hour before reaching the shore,
carrving Cordon's step-daughter, be-
cause their ship was wrecked When he
landed, he was quite dry, and was still
wearing a fisherman's hat ; but the -
was wet. When'thev took her inti
room, senseless, she too was quite • ir \
O'N'eil then went into the house of
Appleton, an engineer, but when
got inside he was then wearing |
wide brimmed ri«b»\ s hat •
Palmei '■« < ">i een
UGUST 1922
Pic/-\JKes and Pi'cf-\iKe$ueK
57
3MPMM:
€X- FACTORY
*
Miss Pauline Johnson,
the clever and popular
film artiste, is here seen
astride her beloved little
McKenzie Motor Cycle.
Miss Johnson is an
enthusiastic McKenzie
rider, and find± it so
simple, light and con-
venient and does not
always discard skirts
when riding. The
.McKenzie is equally
suitable and quitecom-
forlublc if ordinary
skirts are worn.
MOTOR CYCLE
JUST fancy — a real motor cycle — not a toy, or
an auxiliary attachment, or a makeshift — but
a complete, soundly designed and constructed
motor cycle for only 26 Guineas. That is the
price of the McKenzie, complete with Fellows
Magneto, "'Vici" Carburetter, heavy §in.
Driving Belt, Clincher Tyres, i4 h.p. Two
stroke Engine, and built throughout by the
famous house of Hobarts Limited, of Coventry.
The McKenzie weighs only
75 lbs. and does 25 miles per
hour on the level, tops all ordin-
ary hills, gives sound, teliable
no-trouble service all the lime
and costs less than a Jd. per
mile to run.
The McKenzie is not a new,
untried experiment. Thousands
are now in use runnipg about
all over the coun..», and '.."
sales are increasing daily.
It is the success of
1922, and letter-; of
appreciation arrive o in-
stantly from delighted
owners. Remember
also it has to
ssl v ■ 1 ' »fficial
test run from London to Kx< ei
. . nack, in winter weather.
Send or cab for further par-
ticula: • ■'.-. udiug reports by all
the1 well - known experts, •
eluding Rex Britain of " The
Evening News," Laurence II.
Cade, and other-.
u, niber the price — 26
Guineas- --or on easy -t. ';.'' 1
£2 monthly from our
principal Agents. (Heart
2 Acetylene Lamps, Tubing and
ator, License Holder and
Horn, 47 6 extl l.
00
rictxjrus and Kicf\jre$oer
AUGUST 1922
John Matron ana Shirley Mason at
osi ulatory prat tice.
Vahole (Kent).— (i) That poem
hasn't been filmed yet. (2) Hugh
Thompson opposite i.eah Baird, in
Cynthia oj the Minute. (4) Jack Kerri-
gan now acts in and directs his o\«. r>
films. He does more lirecttrig than
actrrtg titxnfe oa\s. One of his last was
a North-West Mounted Police storv ;
others are The Green Flame and The
< oast of Opportunity.
An Alice Cai.houn-ite.- (i) Your
favourite's name is pronounced Cal-
hoon. She was born at Ohio, and
commenced her movie career when
she was 14. First film was How Could
You, Caroline? Then The Thirteenth
Chair. Her first star film was Princess
fiiiics ; others you will see later are
A Charming Deceiver, The Dream, and
The- Little Minister. Will not be
shown this side. live feet 4J tall,
reddish-brown hair and ha/el eyes
(2) " Percy " is Sid Smith, and
" Ferdie " Harry McCoy.
Green Eyes (Kilmarnock). (1) No
trace of either of those now. You're
fond of ancient history, 1 see. (2) Edna
Murphy played in The Branded Woman
for hirst National before she joined
Fox. She's rather reticent about
herself, hair, with grey eves ; 5 ft. 2
tall. (3) Triangle. Mildred Harris is
Her Big Brother, with VV. S. Hart.
Xo Art-plate of me, Green Eyes; it's
too dangerous.
T. W. S. All your passionate
pleadings for page plates of your
favourites have been attended to,
Sessue's last releases were Black
Roses, May 29; The Swamp, Aug 24;
and others to come arc The Street of
the Dragon and The Vermilion Pencil.
(2) Stoll Rims. 15.5-7, Oxford Si reel.
W.C, may be able to supply a photo-
Don 't worry your head over Picture-play
problems. We employ a man to worry
for you. His name is George, and he is a
Human Encvr' n^-Hlp for film facts and
f.^Ures. Send aiong your queries to
"George," c.o. " Picturegoer, " 93, Long
Acre, London, W.C. 2.
graph of Signore Gravone. Write him.
c.o. M. Mercanton, 23, Hue de la
Michodiere, Paris, France. No p.c.'s
of Gabriel. Why not ask him to send
you photo when you write him ?
Ei mo Lincoln Admirer (Aber-
deen). —You Scotch readers will be the
death of me (in time). (1) Dorothy
dish in Battling June. (2) Clarence
Geldart and Clarence Burton are two
separate individuals. (3) Likewise
Messrs. Raymond Cannon and Ray-
mond Hatton. (4) That player doesn't
state. He was in The Nut, and has
been with Griffith five years. (5)
Sounds like it, doesn't it ? (6) Scenes
in serials are mostly the real goods.
Very few stunts are faked, though
dummies and deputies are used at
times. (7) Sidney Ainsworth is cor-
rect. Write in again for the other.
Space is precious.
Nh.ks Welch Fan (Clapham Com
mon). Niles is with Selznick at the
moment. Some of his latest films are
The < up "/ Life (Ince) ; Why Announce
Your Marriage ? Way of a Maul, and
Evidence all Selznick. (2) Haven't
heard re re-issuing that film. Write
Gaumont Co., Denman Street, London.
They will be able to tell you. (3) Page
plate oi Niles Welch in the December
1 « * -i 1 Picturegoer ; he was also on
the (over of " Pictures.'' Nov. 26,
1921. Your views re Picturegoer are
very sound.
I'hvi 1 is (Eltham). That was Mae
Marsh in The Birth of a Nation. Yours
was a. letter after my own heart.
Gold Flake (Brighton). (1) Flor-
ence Billings freelances nowadays.
She commenced with Vitagraph, and
played in Wit Wins and Heart of a
Gipsy. The Blue Pearl was a Lawrence
Weber production ; The Woman Game,
Worlds Apart and Road of Ambition
(Selznick) ; and The Rossmore Case a
Roland West production (2) Ethel
Clayton was born in >rioo. Exact
date not stated.
Fanny Filmite (Hull). — Lou Telle-
gen has not been inside a film studio
for some years now. He's on the
American stage. Lou was born at
Athens, Greece, on Nov. 26, 1881.
Played in stock and leads with Sarah
Bernhardt on tour and in Paris.
Screen career with Lasky (The Cn-
known, The 'Fxplorer, The Black Wolf).
Other films, Blind Youth, World and
Its Woman, Flame of the Desert, and
Honour Redeemed. Goldwyn will
release World and Its Woman later on.
Little Lord Fauntleroy (North
Wales). — Nothing little about your
bump of curiosity, milord. (i)'We
have plates of every star in his turn.
(2) Winifred Westover played in
Intolerance, though her name is not
in the cast. Her later ones are : John
Pethcoats, This Hero Stuff, Hobbs in
a Hurry, All the World to Nothing,
Old. Lady 31, Forbidden Trails, Fire-
brand Trevison, The Village Sleuth,
,:r. Not viking
and Bucking >'■
at present. (3) Yes, certainly. (4)
Winter Hall's home is at 1963, Beach-
wood Drive, Hollywood, Cal. More
another time.
Interested Reader. — (1) Ben
Deely was " Gullen " in Iron Heel.
(2) The year of Tom Meighan's birth
was 1888 ; he's married to Frances
Ring. (3) Henry Edwards is still a
bachelor. Your list of favourites is
quite a good one. Why this ardent
desire to see more of me ? You might
be disappointed if the Editor granted
your request.
E. T. (Australia). — (1) Priscilla
Dean. (2) C.o. Universal City, Cali-
fornia, U.S.A. (3) Norma Talmadge
is 25. (4) Haven't heard that H. B.
Warner and Charles Kingston are
related. (5) Yes, to that one. William
Farnum is very happily married to
Olive White. (6) Betty Nansen was
on the stage in New S'ork last time
1 heard from her. She has given up
film work, and returned to her native
land, 1 believe.
Tom Mix Mad. (i) Tom Mix was
born on Jan. 6, in Texa- He doesn't
tell the year. (2) Tom's Art-plate ap-
peared in the June 19, \i>io issue of
"Pictures." Minemav, perhaps, appear
A.n. 2000 ; but don't count on it
(3) Sessue Hayakawa stands 5 ft. 7J
in his socks ; he was a on June 10.
K. C. (Brighton).- Yours had a
distinctly legal flavour. Anyway.
your request was granted in the May
Picturegoer. Satisfied ?
1>. A. (Sussex). I've done it.
[( mlimird i»i fiij;c 6i>.
ri^/\jre$ c/nu r'/L/ urkfi^ukfr
ay
THAT LAZY, LISTLESS
'DON'T-CARE' FEELING !
IT'S YOUR LIVER.
Dissolve a pinch of Alkia Saltrates in your
tea every morning and soon feel
fit as a fighting-cock, says
PETER.. LATHAM
World's Champion at Racquets, 1887-1902.
World's Champion at Tennis, 1895-1 90S.
Retired undefeated.
Ever have that lazy, listless, " don't-care " feeling of constant lassitude, when every
move requires special effort and even the brain seems tired, drowsy, and dull ? It's
y >ur liver. Ever feel bilious, nervous, irritable, " headachy," and various other kinds
of " achv " ? It's your liver. Ever have dull eyes, yellowish eyeballs, pimply skin,
catarrh, coated tongue, offensive breath, insomnia, stomach
trouble, heart palpitation, loss of appetite, etc., etc. ? It's your
liver. Constipation has even been called " the beginning of all
disease," because it introduces into the blood, by absorption
from the intestines, various disease-causing poisons which could
not possibly even remain in the body otherwise, I'mson* and
impurities, whether you call them toxins, microbes, bacteria,
bacilli, uric and stomach acids, or by any other names, are
admittedly the primary cause of serious organic and other
disease. Without their presence in the system th< disease
could not exist.
Obviously, the only way to get rid of body poisons or blood
impurities, and do it quickly, is to stimulate ,i lazy, sluggish
liver, flush clogged kidneys, neutralise and wash the fermenting
mucous from an acid stomach and clear the sour bile and decaying matter from fouled
intestines. Cleanse, sweeten and purify the entire alimentary trait. Then notice
how much better you feel as the body's great filters and blood refiners [the liver and
kidneys) commence working properly again.
All you need for the above treatment is simply to get a small supply of the refined
Alkia Saltrates compound from any chemist. As much of this as can be heaped on a
sixpence should be dissolved in your tea, coffee, water, or other drink and taken every
morning. No trace of any bitter, salty, sour or other taste can possibly be detected
Also it cannot upset or irritate even the most delicate stomach. The only evidence that
you are taking a medicine will be the plainly noticeable absence of all symptoms
indicating disordered liver, kidneys, stomach or other parts of the digestive tract.
PE1KR LATHAM.
Don't
Miss
No. 2
T-W-E-N-T-Y
long, complete
stories for 1 -
NO. I was out ot print
within ., few day?, of
p u bl ic at ion No
wonder ! Never
before has a shilling
purchased such a huge handful
of splendid fiction.
Magnificent holiday reading
Stone.- just made to order for
the Rap between bathing- time and
lunch-time or a quiet aftetnoon
on the front.
But be warned in time
get No. 2 before it is sold out,
and at the same time order No. 3.
MAGAZINE
The Finest Fiction Value
in the World.
Published on the 10th
of every month
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60
Pict\jre5 ar\d PicF\jreOver
AUGUST 19?2
LET GEORGE DO IT.
[Continued from Piige JS\)
Sambo (Jo'burg). (i) Anita Stewart
Ixim [896, at Brooklyn, New York,
and educated at Erasmus Hall. Com-
menced her screen career with Vita-
graph in The Wood Violet. Now a
First National star. Light-brown
hair and brown eyes. Anita's married
to Rudolph Cameron, who sometimes
acts opposite her. (2) Viola Dana, in
The Innocence of Ruth. (3) Older than
that, my child. (4) Anita Stewart
was her maiden name. (5) Carson
Ferguson was born in India in 1891.
Yes, he's married. Why do you
blacken yourself that way, Sambo ?
A. H. (Christchurch). — I murmured
" ah " ! and several other exclamations
when I saw yours. Can't spare space
for all those episodes. You'll find
most of them have appeared in pre-
vious replies. Million Dollars Reward
ran in " Pictures " as a serial.
Touchwood (Kingston-on-Thames).
— I do ; but it doesn't influence my
post-bag. (i)«Lila Lee hails from New
York City. As " Cuddles " she was
well known on the American vaude-
ville stage. Screen career with Famous-
Players only ; now Paramount. Lila's
5 ft. 3 tall, with black hair and black
eyes. (2) Charles Ray was born in
Jacksonville, 111., 1891. Height,
6 ft. i\ ; dark-brown hair and brown
eyes. Write all stars, c.o. this journal,
enclosing stamped plain envelope with
your letter.
Staunch Mixite (W. Hartlepool). —
(1) His birthday is Jan 6, but he's shy
about disclosing his age. An article
about him in the January 192 1 issue ;
also in last month's Picturegoer.
(2) Wallace MacDonald's a Canadian,
born in Nova Scotia ; stage career in
stock. Screen career with Triangle,
Vitagraph, and Goldwyn. He's a
leading man, not a star. Married to
Doris May. Wallace is 5 ft. 10 tall,
with dark-brown hair and eyes.
(3) Will speak severely to our tame
story-teller about it. When I " peg
out," I promise to give you due
notice.
Houdini's Admirer (Liverpool). —
(1) Harry Houdini's films are The
Master Mystery, The Grim Game,
Deep Sea Loot, Adventures of Houdini
in Paris, Terror Island, The Man
From Beyond, and Haldane of the
Secret Service. The two last are his
own productions. Married, but not
to a screen player, though. (2) In Two
Little Urchins Sandra Milowanolt was
" C.inette " ; Fd. Mathe, " M. De
Bersagne " ; M. Hermann, " Pierre
Manin " ; Olinda Mano, " Gaby " ;
Blanche Montell, " Blanche " ; Vio-
lette Jyl, " Lisette Fleury " ; Alice
Tissot, " Mdme. Benazar " ; Mdme.
Gaston Michel, " Phillippe Bertel " ;
M. Charpentier, " Amedee " ; Bout-
de-Zan, " Rene " ; and Biscot, " Cham-
bertin." (3) It is not unlikely. (4)
Ves, she's married. (5) Marguerite
Marsh is Mae's sister ; her last film is
Iron To Gold (Fox). Glad you appre-
ciate me. Sure, write again when
you feel like it.
M. K. (Birmingham). — C.o. this
journal for all of them, with the usual
S.P.E. (1) The first name is; if
Geoffrey Kerr is, he hasn't told us.
Pansy (Near Stockport).— Harry
Pilcer played in the Gaby Deslys'
films ; he hasn't done any screen
work lately. No post-cards of him ;
but Gaumont Co., 6, Denman Street,
London, might be able to supply a
photo. He's a well-known dancer ;
usually lives in Paris.
Akeenrayite (Yorkshire). —Sounds
like a toothache cure. (1) About
five years. (2) Mary Miles Minter is
single. (3) Nothing much to choose
between them just now. (4) Roland
Myles is unmarried. (5) Things (and
people) are not always what they
seem. I found that out long ago,
but it doesn't worry me.
C. M. (Chiswick). — All the films on
your list are released, except The
Yellow Typhoon, and you'll have to
wait some time for that one.
N. L. (Tewkesbury). — (ij A Boston
gentleman called John E. Libby.
(2) Eternal City was made partly in
Rome, partly in Famous - Lasky
studios. (3) Pauline Frederick hasn't
been working for many months ;
she's on the stage in New York. You
may see her in London next year ;
but nothing has been definitely de-
cided. You're very staunch, you
Frederick fans.
A. B. (Worthing).— That's a very
sad state of affairs, never having
Tom Mix at your kinema. Keep
worrying your manager (hope he
doesn't read this) until you get 'em.
(1) Billie Rhodes was never married
to Will Rogers, the star of Laughing
Bill Hyde. Billie was Mrs. Jobelmann
at one time. (2) Franklyn Farnum
isn't related to Bill of that ilk.
(3) Yes ; some films are much more
expensive to hire than others.
Filmad (Sussex). — (1) Irene Browne
has red hair and grey eyes. She played
in The Glorious Adventure as one of
the Court Ladies. (2) In her late
'twenties. (3) Corinne Griffith is
Mrs. Webster Campbell. Some of her
films are Love Watches, Miss Ambition,
Thin Ice, The Unknown Quantity, The
Climbers, Bab's Candidate. The Broad-
way Bubble, What's Your Reputation
Worth ? and Island Wife. Mary Pick-
ford is 29.
(More replies will appear next month.)
FEATURING GEORGES CARPENTIER.
{Continued
Out in the old-world garden, after
lunch, the sun shone on a fashionable
assembly, and many pretty scenes
were filmed. I managed to chat a
while with Carpentier, and he told
me that he has put all thoughts of
boxing out of his mind for the present.
" There is a fight in the film, but
much more besides. I want only
to learn English and the rides of
acting just now," he told me. " Mis-
taire Orman is teaching me to sing
rag-times, ' Whose Bebe Are You ? '
and Mistaire Blackton he is teaching
me all about acting."
Carpentier speaks all his lines in
English, and Mr. Blackton directs
him in that language. Georges can
speak English quite well, but he pre-
tends that lie can't, in order to escape
interviewers.
from Page /:.)
When I dragged myself away from
Sloane House, the sun was sulking
between two clouds, but his was the
only scowling face on view. Every-
thing else in that old-world garden
was lovely, including Felix and his
Beauty Squad, Mr. Blackton's
patience, Mrs. Blackton's cheeriness,
Georges, Mrs. Georges, and Jacque-
line, stars and extras. Even Nicholas
Musuraca, the camera - man, smiled
through the view - finder of his Bell
and Howell. Optimism must be
infectious.
In the dining-room, where I col-
lected my hat, Violet Blackton was
in the act of abstracting the last two
cherries from the dish. But I am a
well-bred man, for a journalist, and
I pretended not to see.
W. A. WILLIAMSON.
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I 1 see the name (adbury
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AUGUST 1922
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62
1) Y the :im;iL ;hu.i
J tion of 1 Hi:
PICTUREGOER with
Pictures," i he Screen
Improving the
"Piciuregoer."
Picl~\jres ar\d RictureOver
Whald
Your Views -i
uThink?
Magazine, we are able to intro-
duce many new features in
this issue that are sure to meet
with the approval of our
readers. The acquisition of
George, the " Human Encyclo-
paedia," will be a boon to in-
quisitive correspondents, and
other important additions to
our pages are " British Studio
Gossip," " Kinema Carols,"
and " Pulling Pictures to
Pieces." Keep your eye on
THE PICTUREGOER. Every
month, in every way, we are
growing better and better.
MY ideal screen lover is Stewart
Home. He acts with beau-
tiful sincerity, dignified gentleness
and charm. Every expression of
emotion is simple
An Ideal and not exagger-
Screen Lover, ated, and seems
real. His love-
making is always earnest, tender,
and reverent ; and he can make a
man's tears and sorrow touchingly
pathetic- not weak and silly, as
some actors do. I think he has
the most wonderfully expressive
and genuine smile, and always looks
a 'straight,' manly man. Violet
Hopson is my favourite heroine.
She has such a sweet face and
gentle, womanly ways, and is always
well dressed. Her character, 1 think,
resembles Stewart Rome's, and 1
love seeing her act with him. The
two lovers 1 like next are Henry
Edwards and Chrissie White. He
is delightfully healthy and natural,
like his plays, and she is (harming."
— H. M. {Weybridge).
FOR a long time there has been
little said of Alice Joyce, and
I should like to take this oppor-
tunity of awarding her a big bouquet.
1 consider her one
The A 's of the most charm-
Have It. ing and capable
a< tresses on the
screen to-day. Somehow, her re-
strained and natural acting is always
convincing without ever being over-
done. She is always graceful and
refined, and so unlike the usual
screen actress that 1 think one of
her great appeals is this quiet in-
dividuality of hers. Another actress
who deserves plenty of praise is
Anna Q. Nilsson.
She is so beautiful
she could afford to look pretty and
do nothing else, but I think she
acts remarkably well in addition to
being a Venus. She certainlv is
one of the loveliest women I have
ever seen." — H. de H. (London).
I
AM sure ' N. P. C, Bristol,'
must have forgotten Stronger
Than Death in saying Nazimova had
done nothing good since Madame
Peacock. Although
Wait and See ! Alia is my favour-
ite actress, and 1
think she is wonderful, I admit in
some films she is inclined to be
affected, and poses ; but I am sure
that does not apply always. As to
saying her future films will consist
of ' a series of close-ups of Madame
posing,' I should suggest following
Mr. Asquith's example and ' wait
and see.' As to actors, Bert Lytell
most certainly tops »iv list, although
even he is a little bit of a poser. I
wisli him all the best of luck as a
detective, if he takes the part as
well ;is he does a Crook."— /. M. A'.
(Seven Kings).
1
HAVE seen nearly all the
good actors, and, to my
miivl, 1-on Chancy, in The Penalty,
stands far ahead of the rest. The
extraordinary way
. 1 Great in which he dom-
Character Actor, inated one's atten-
tion in this photo-
play impressed me beyond words.
His evil character, his tempestuous
outbursts of anger, were presented
with wonderful realism. The pa-
thetic little incident at the piano,
when he wept at the thought of
the dav when he would walk again,
AUGUST 1922
was beautifully acted.
Thee haracterisa'tionof
' Blizzard.' too, was a
revelation to me of
the power of a superb
actor to express himself
through the medium
of ttie silver-sheet. I hope
l.on Chancy will give us other
plays of this high standard,
lor we are in great need <,f
them."—/). H. (Bath).
OFTEN go to a theatre
* after a tiring day t<>
see a noted beauty in one of
her films. 1 (hid it extremely
refreshing to
In Praise of forget her aet-
Beauty. ing, and the
story, and just
gaze at her extraordinary-
beaut}'. I expect most of us
appreciate unusual beauty after the
commonplace people one meets
every day. I suppose Katherine
MacDonald, the lady whom I see as
a relaxation, is, strictly, the most
beautiful woman on the screen ;
but I prefer Gloria Swanson and
Corinne Griffith/'— J. S. (Bristol).
SURELY film producers should
make an effort to keep
within reasonable bounds of his-
torical accuracy. The producer of
Madonnas and Men
Historical most certainly fails
Inaccuracy, in this one respect.
Not only does he
invent an emperor of Rome — Tur-
nerius (and makes that fault even
worse by stating the date), but he
actually has Christians martyred
before Christ began to preai h I
Surely most people know that Christ
onlv began to preach in a.D. jo."
— K. 0. (London, W.).
IF. you have any views to expound
on any subject under the
kinema sun ; if you wish to present
a bouquet to your favourite star,
What Do YOU
Think ?
or to heave a
b'ric kbat at
players who
displease you,
write to " The
Thinker," c.O.
" PICTURE-
GOER," 03, Pong
Acre. London. W.C.2.
The most interesting
letters received will
lie dealt with on this
page each month.
SEPTEMBER 1922
Per 18-U
Pictures and PicfureOoer
Spare your Hands !
Why wear them out with unnecessary
work over steaming wash-tubs ? Why
suffer that soreness and washed-out feel-
ing at the end of the day ?
Let ^PerslQ spare your hands^ save
your feet, and ease your back. Let Q^ersil)
take over the heavy work of washing day
and leave you fresh and unwearied al
the end of it.
The modern QPersij^ way of washing
clothes is perfectly simple. Oxygen and the
other wonderful and harmless properties i
Q^ersif^ do the cleansing. It is not eve
necessary to soak the clothes overnight.
You will realise that Q^ersip is the
greatest boon that modern washing-science
has produced, directly you allow yourself
to experience the relief it brings you.
Why postpone the pleasure of using
CPersTT)? Ask your grocer for it at once.
JOSEPH CROSFIBLD & SONS LTD., WARRINGTO
What happens on the
28th of each Month ?
THE 28th of the month is a red - letter day lor
thousands of people who .ire the best judges of
fiction. It heralds the coming of the " I 5 Best
Stories of the Month" in. " PAN." It is the day of all
days for those who know that the proof of a good story
lies in the reading, not in the author's name displayed on
the cover. " PAN " stories are so out of the common that
if you have let August 28th slip by without getting
" PAN " you have missed a fine feast of fiction, to say
nothing of running the risk of getting no copy at all.
The demand for " PAN " exceeds the supply . _ get
your copy to-day.
THE FICTION MAGAZINE
/-,- Stories for One Shilling.
Pictures and Pict\jre$oer
SEPTEMBER 1922
H& I
OUm0auourik9
PICTURE POSTCARDS
OF KINEMA STARS.
A tew more selected names from our enormous stock (complete list
sent post tree on receipt of a postcard) : —
May Allison, Richard Barthelmess, Gladys Brockwell, Francelia Billington, June
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How long has she been there ?
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Twenty stories all in the same maga-
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It is a companion magazine to " PAN,
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The fine ft fiction value in the world.
Monthly, One Shi/ling.
SEPTEMBER 1922
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Pictures and Picture Over
SEPTEMBER 1922
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CONTENTS :
FRONTISPIECE; Norma Talroadge - 8
A SEPTEMBER DIARY - - 9
POLICE! POLICE! - - - - 10
of the Law on the Screen.
KING BEAVER 12
How "Rob Roy" was filmed.
ONE 'MAE" DAY ....
Mae Marsh chats about her work.
"A SISTER TO ASSIST 'ER"
A famous sketch in film form.
THE NEW CO OPTIMISTS - •
All about the first co-operative movie.
WHAT'S A NAME WORTH ? •
Proves thai Shakespeare may hai'e been -wrong.
FILMING A BEST SELLER 22
' If Winter Comes " in the making.
SEEING L1MEHOUSE WITH
MABEL - ;.24
Mabel Xormatui's unconventional visit.
PICTUREGOER ART GALLERY 26-30
House Peters, Dorothy Phillips, Helene Chad-
wick, Mahlon Hamilton, Wheeler Oakman.
THE FILM FASHION-
PLATE - - 31
ART PLATE : Rex Davii at Home 32—33
Pictures and PictureQver
SEPTEMBER 1922
NORMA TALMADGE
Whose next production will be a film version of " The
Voice from the Minaret," by Robert Hichens. Popu-
lar Eugene O'Brien will support Norma in this picture.
SEPTEMBER 1922
Pictures and Picture Over
PICTUR E-S
AND
THE-
PI CTU RE-GO E-R
TH E- :
5 C RE-EN
M/KG/K-Z 1 N E>
VOL.4. N92I. SEPTEMBER 1922
Editorial Offices ;
93, Long Acre, London.
Registered for I lansmission
by Canadian Xlagozine poi/.
A
September
Diary
to
Pat O'Malley
Rowland Lee
• Tsuru Aoki
- Bessie Love
10 - - Irene Dalton
12 - - Gerald A mes
14 • Barbara Castleton
22 - Dorothy Dalton
29 - - James Neill
29 - • Alice Hollister
Monday. September 5, 1912, found
the leading man of the Blaney
Stock Co. so hoarse that he couldn t
whisper. He d been declaiming his new
Nazare ' in " 1 he Cherry Pickers till he
M Stock Co. so hoarse that he couldn't speak above a
whisper. He d been declaiming his new role or John
Nazare' in "The Cherry Pickers till he'd no voice left,
and his manager threatened to engage a substitute. But
Bert Lytell s blood was up; what he took for it no
one knows, but his voice rang out clearly again that
night and won him four curtain calls at the end of the play.
On Saturday, September 6, 1916, " The Battle of the Somme
film was shown at Windsor Castle before a Royal audience.
Our King and Queen, by whose request this was arranged, were
greatly impressed and interested.
A hurried fire call on Sunday, September 11. 1915. soon
had every available flame- fighting device and hundreds of firemen
at West Twenty-Sixth Street, New York. Nothing like celluloid
for making a blaze, and before this one was finally put out, it had
made a horrible mess of the Famous Players Studios.
1 hat sad-faced maker of comedies known to the world as Duster
Keaton allowed his frozen features to relax into an honest-to-
goodness smile on Tuesday, September 13, 1921. This happened
in the studio, without previous warning, and startled the company
so much that Buster told them to call it a day and go home on
condition that they " forgive and forget."
The question as to whether Mary Pickford s curls were
supplied by Art or Nature, which had been agitating the minds of
film fans all over the earth, was finally disposed of on Monday.
September 26, 1916. From that date onwards the query was
d,
favour of Does Pearl White wear a wig? which
sc&rded in
date is still going strong.
At Drury Lane Theatre. London, on Wednesday. September CO.
1902. a drama entitled "The Best of Friends " was settling down as
a steady success. So was the actor who played Paul de Lahne.
whom the gods in the Gallery referred to as " The one with the
eyebrows " and the programme styled Conway Tearle. Conway
nasn t been seen in person in London since he joined the
but hi9 shadow shows that the description still fits.
M
ovies
10
-Pictures and Picture Over
SEPTEMBER 1922
William Desmond
in " The
Policeman
and the
Baby."
Police!
Police!!
The movies could never do without
the husky boys in blue.
Fred Groves and
Betty Balfour
in " Squibs."
The policeman is a handy
man, but the versatility that
the film producer creates in
the screen man in blue eclipses
by far the Robert of real life.
The minion of the law, as the
studios know him, is an elastic
type of character who can reflect
humour, drama or tragedy ac-
cording to the requirements of the scenario
He can supply the human note in the kitchen
of the portly comedy cook as he consumes her
traditional pies ; or he brings grimness to a
scene when he stolidly enters in his notebook
the details of a screen crime.
On occasions the film policeman is promoted
to stardom. Tom Moore was the farcical " Bobby "
who in Officer 666 played the title-role in a comedy
of errors. Fred Groves accorded a stellar position
to his clever characterisation of a London police-
man in Squibs, and William Desmond, in The
Policeman and the Baby, and W. S. Hart in Cradle
of Courage and O'Malley of the Mounted have
imbued the policeman's life with an atmosphere.
of romance and adventure.
Fred Groves, as the humble Robert who lost
his honest heart that beat beneath a tunic to
the golden-haired Mower girl, played by Betty
Balfour, brought a very human policeman to the
si reen
We saw him holding up the traffic in Piccadilly
with that majesty of the law that has inspired
world-wide admiration of our police force. Yet
he was a simple, big-hearted fellow when he
pleaded with his mother in the country for the
girl that she despised because she sold flowers at the
foot of Piccadilly's famous fountain. It was a character
study that was very true to life, a reflection of the real
Metropolitan policeman whose efficiency on his beat
in reality cloaks a kindly nature entirely free from the
spirit of Bumbledom.
Bill Hart has been a City policeman and a member
of the " North- West Mounted " in the course of his
screen career. In O'Malley of the Mounted he made a
picturesque figure in the trim uniform of the Royal
North-West Mounted Police. His narrow-lidded eyes
peered behind the revolver sights just as they registered
relentlessness in his cowboy characterisations. It is not
a far cry between the Western roughrider and
the picturesque mounted police of the Sierras,
where the presentation of strong characters
is involved. Thus
Bill Hart is
equally effective
in either role.
There are few
screen comedians
who have not re-
flected humour
from the screen
either by wearing
the blue uniform
of the comedy
policeman, or
utilising droll re-
presentatives of
the law as cor-
pulent and most
irregularly uniformed butts
for buffoonery. Down the
path of kinema comedy-
history innumerable
custard pies have
flattened themselves
against the ludicrous
features of those
who play before the
cameras in " property
policeman's garb."
Left : Tom Moore in
" Officer 666." Below :
W.S.Hart in "O'Malley
of the Mounted."
SEPTEMBER 1922
Pictures and Pict\JKeOosr
11
V
The Keystone comedy police, whose amazing acrobatic
from the weird automobile over which they clustered when
making their erratic progress to the " scene of a
crime," rank amongst the pioneers of screen history.
Ford Sterling has brought many amusing,
humorous studies of a harassed chief of
police to the screen, although his quaint
stubble beard broke the regulations con-
cerning clean-shaven chins in the Force.
Because Charlie Chaplin's humour is
often akin to pathos, he seldom introduces
into his pictures a policeman that is not
irimly uniformed and who has the effi-
cient appearance of the real life variety.
For Chaplin, although he may raise a
laugh over the attentions that the police
pay to him and his ragged friends, also
very cleverly suggests the heartlessness
of the law and how its shadow hovers
over those who are destitute in life's
byways.
Although so many producers take
liberties with the majesty of the law in
Lionel Barrymore and " British " police in
" The Great Adventure."
falls
W. S.Hart in " The
Cradle of Courage."
their quest for
humour, Robert
as he really is on
occasions comes
into his own.
The police force
has had a film
devoted entirely
to itself when the
organisation that
lies behind the
work of the
British police
was reflected on
the screen by
means of an offi-
cially sanctioned
picture. The
Roberts who
appeared in these
and similar pic-
tures must have
had their screen
aspirations
dampened when
they heard of a protest by an actors'
association against the employment
ht*00*
of real policemen as
'supers in film produc-
tions, as it was stated that actors
looked more like the genuine article on the
screen than "dyed in the wool " Bobbies.
The varied nature of the uniforms and equip-
ment existing amongst the police forces of
various countries at times provides pitfalls for
producers. In Dr.Jekyll and Mr. Hyde, the old-
time English policemen were depicted in their
quaint uniforms and helmets. Yet they were
shown with twentieth-century bull's-eye lanterns'
v -
*5 ••-' ^^
Mack Sennett's Keystone Police brought a new type
of constable to the screen. Above : Leo Sulky, a famous
Sennett policeman, in a scene ivith Billy Bevan and Mildred June.
12
P/c/-\jks5 and Picture Over
SEPTEMBER 1922
AKit\$ i
Beaver-
David Hawthorne
as " Rob Hoy,"
who was, in Ins
prime, one of the
finest specimen
beavers ever known.
ast month I wrote regretfully
upon the subject of screen kisses,
but ere the issue had left the
printing-presses came one to
me saying : " Hurry along to
Gaumont Studio at Shep-
herd's Bush, and watch
'em dance the Pavane."
1 went. I watched, and
was conquered Write me as one
who loves those good old-fashioned
party pastimes. Kiss-in-the-ring has
its joyous moments,
and there are possi-
bilities in Postman's
Knock, bill leave me
a Pavane within the
programme, and I'll
not ask [or Twilight
Waltzes
At the Duke of
Mon t ro se's ball ,
where Rob Roy fell
ill In vc with t he
fair Helen < ampbell,
they were rehearsing
the second movement
of the " Pa vane "
when f arrived on the
scene. The " Pa-
vane,'' they tell me,
is two hundred years
old, and I'll say that
Above : " Red King Heaver," circa 1700-
17 so, posed by Alec Hunter
Below : The funeral of " Rob Roy," with
an appropriate accompaniment on the
bag-pipes.
every
arms,
their
Will
The here
nuts - and -
may part of it may lack the snap
ot the modern Fox-Trot, but the
finale to the second movement, when
the lips of all male and female dancers
meet together in a long, lingering
kiss, is fifty years ahead of the Palais
de Danse.
As a rule, rehearsals are tedious
things, but the eagerness with which
the players rehearsed the " Pavane j
was beautiful to witness. They were
indefatigable. When the producer
said, " Do it again," they made no
demur. At the command, " One,"
every man was in his place, and
woman was in ever} mans
At the command. Two,"
lips met. " Hold it ! shouted
Kellmo. Did they hold it ' "
Madam, they were magnificent. If
they had been doing it for enjoyment,
they could not have done it letter.
Will Kellino
took three kiss
stills in succes-
sion, and still
they showed no
outward and
visible signs of
weariness.
" I must con-
gratulate you
on the way yon
held it.' sail
Will Kelhno.
Then he turned
to Mrs Haw-
thorne, and
said: "I'm
sorry, Mrs.
Hawthorne, but
they'll have to
do it again."
SEPTEMBER 1922
Pict\irQS and Picture Over
13
Mrs. Hawthorne was standing by
the camera watching I >avid kiss
Gladys Jennings as though his life
depended on it. But she only smiled,
and said : " Don't mind me. This is
not nearly so bad as Stirling
Castle."
I felt sorry for Sir Simeon
Stuart in the role of the
At once the listening supers gave a
cheer, and David Hawthorne chirped :
' That's very thoughtful of you, Mr.
Kellino ; I'm as dry as a bone."
His face fell when the producer
pointed out that the bier in question
was the kind you bury people on,
and not the beer that you bury your-
self ! The great village fire scenes"
were filmed at Aberfoyle, when the
homes of Rob Roy and his clansmen
were fired before a vast concourse of
sightseers. Flames 30 ft. high swept
through the village, and the players en-
gaged had a very warm time of it. Some
very effective pictures were obtained.
Soldiers from Stirling Castle, who
took part in the battle scenes, entered
into the spirit of the fray with ex-
traordinary enthusiasm. Much of the
fighting took place at the gates of
" Inversaid Port," an imposing struc-
ture which was specially built for
the film.
At one stage of the fight a soldier
was instructed to put more pep into
his claymore duel with a MacGregor.
" Och ! " he retorted. " Whit's the
use; I've killed him- twice and he'll
no dee ! " w. a. w.
" Rob Roy " in pre-beaver days.
Duke of Montrose. He was the
poor dog who got none. He had to
stand in the foreground and register
jealousy every time that Rob Roy
kissed Helen Campbell. He regis-
tered very well, but what an
exasperating part !
Next to watching the " Pa vane,"
the most interesting items on the
afternoon's programme were spot-
ting " beavers " and listening to
the skirl of the pipes. Some of
the finest specimen beavers in
captivity were to be seen on the set, although
Rob Roy did not appear in full whiskery
regalia. In the latter parts of the film,
however, he is a regular " King Beaver,"
as the picture at the head of this article proves.
The pipers of the London Scottish gave an amazing
display of frightf ulness, and their execution at close
range was deadly in the extreme. They marched
up and down the studio with their pipes in full
song, until the place echoed and re-echoed with
weird wails. Personally, I prefer the " Pavane."
The cast of Rob Roy, which will be one of the
most ambitious British pictures ever made, in-
cludes David Hawthorne in the title-rdle, Gladys
Jennings as " Helen Campbell," Sir Simeon Stuart
as " Montrose," Wallace Boscoe as " Killearn," and
Alec Hunter as the " Dougal Cratur."
The company had some interesting experiences
whilst on location in the Macgregor country in
Scotland. Local interest in the picture was very
great, and char-a-banc tours were run from the big
towns to enable people to watch the film folk at
work on location. Eight hundred supers took part
in one battle scene, and local rivalry between men
from Stirling and Glasgow provided the producer with
all the realism he required. Fifteen players had to receive
medical attention after the fray !
Will Kellino tells a good story at the expense of
David Hawthorne. When they were about to film the
mock burial of Rob Roy, the producer shouted through
his megaphone : " Bring out the bier for Rob Roy ! "
" The Lament
of Rob Roy."
Soloist : Gladys Jennings,
as " Helen Campbell," " Rob Roy's " sweetheart.
14
Pictures and PictureOoer
SEPTEMBER 1922
<-.
Being a studio interview with Mae Marsh,
who has come to England to star in
"Flames of Passion."
onerous duties as commander-in-chief
of .i venture that looks like making
film history in England doesn't seem
to worry him much. We all had a
look and decided that the colour
was wrong, so the carpenter retired
whence he came to alter it.
When I looked round again, Mae
Marsh hitherto invisible, had
seated herself in the chair next
mine and was gazing into space
with unfathomable grey eyes.
A slender little lady in a
pretty navy-blue frock, I
had" just time to register
an impression of bright,
fluffy hair and tiny
features, before a
young lady brought
. forward a boxful
Polly of the
(Goldwyn.)
of wedding-rings, and invited Mae to
take her choice. 'I hey all proved
too large, so : " I am going to wear
my own," she finally announced, and,
as the set was still not quite ready,
we all went up to lunch. Most
noticeable is Mae Marsh's disinclina-
tion to talk about herself. Of her
mother and sisters (Margaret is well
known in Filmland), she will tell you
in detail Also about " Snooky,"
the idolised baby girl. As she mixed
one of her famous salads, she waxed
singularly informative regarding a
dark, good-looking young fellow at
the other end of the table. " Came
over on our boat,'' she said. " He
writes stories and plays, though he's
never written me one. ' Snooky ' and
I have known him a long time." Then,
crinkling eyes and mouth in a whole-
hearted smile : " Meet my husband,
Louis Lee Arms, who snapshotted
me across London yesterday morning."
Studio work leaves Mae Marsh little
time for such delights, though ; lier
role of " Dorothy," tin- distressed
little heroine of Flowers of Passion,
?xacting and whilst it has some
:omedy touches, is mostly in the
pathetically tragic vein which
suits her so well. She was
due to make the big " con-
fession " scene that day, hence
the presence at an adjoining
table of some very tem-
peramental - looking folk,
who refused to be separated
from violin and "cello cases
Like all the girls and
boys Griffith has steered into
fame, Mae delights in sing-
ing his praises, and recalled
her sorrow when she went
from Fine Arts to Goldwyn,
soon after the Chicago
premiere of Intolerance.
About her remarkable work
as the terror-stricken child
in Birth of a Nation, Mae wasn't
rommunicative. Only remarked
that Lillian Gish had played her
;lder sister. Everybody remem-
bers her " Flora Cameron,"
although, in the minds of
most of us. Mae is ever and
always the " Little Dear One "
of Intolerance fame. The amount of
pathos and humanity she infused into
the lovable figure of the brave little
wife was wonderful. Home, Sweet Home
and The Escape were other Griffith pro-
ductions she worked in, and her Goldwyn
films (she spent several happy years
there) include Pollv of the Circus, The
Cinderella Man (the ' two best), All
Woman, The Beloved Traitor, and others
that gave her plenty of variety.
" Then we were married," declared
Mae's husband, " and 1 took her away
for a year and a half to my ranch in
California. Baby Mary arrived, and
Klieg lights and make-up took a back
seat in the Mae Marsh scheme of things "
Retiring and shy. except when before
the camera. Mae Marsh undoubted L '
off the screen she's a real " home bird "
and unl\ occasionally allows herself '-
SEPTEMBER 1922
Pictures and RictureOoer
15
Le lured to sociat affairs or dances.
She came back into screenland again
in The Little 'Fraid Ladv, made at
Robertson Cole Studios. An appealing
little story about an orphan. Nobody's
Kid, came next. It was retitled Little
Miss Somebody on its arrival this side.
" Then there was ' Brittie,' " prompted
Louis Lee Arms. ' Brittie ' was a
Cockney play, mostly comedy. Mae's
first stage appearance. We opened at
Plainfield last November, before an
audience that included Griffith and a
whole lot of film friends of ours."
I gathered that Mae Marsh will prob-
ably make her next picture at the
Griffith fitudios. There was some talk
of The Sands of Dee in many more reels
than D. W. G.'s early version. Of
course, Mae would like that ; she ap-
peared in the first production, and the
story is a favourite of hers.
Back upon the set again, Mae became
the petted little wife of an eminent K.C.
(played by Aubrey Smith, complete with
Above: •• Flames of Passion." Top; A dual rSle in " Hidden Fires." (Goldwyn.)
Left: In "A Border Line Romance," an old Triangle picture.
papers, pipe,
expression/,
over a short
"shot." The
cameras mm
and correctly meditative
and two or three times
scene between them was
n lights were changed and
ed nearer, and I watched
her make a series of
"close-ups," emoting into
the very eye of the
camera, only a foot or
so away. Then : "Is
that just how yon
want it, Mr. Cutts she said.
"Yes? Then J'll slip away and
change my dress."
I wished her good-bye before she
vanished, with the remark: " I was
so late last night, but to-day I hope
to be home in time to kiss ' Snooky '
good-night."
Here's where Mae Marsh is unlike
some .screen stars, who keep domestic
affairs a dead, undiscussable secret.
She reminds you about her husband
or her baby every other sentence. I
suppose she knows she looks
absolutely girlish that you need re-
minding. foSIE P. '
16
Pictures and Picture poer
SEPTEMBER 1922
back the way they'd been carried, with
their fair (?) owners gesticulating wild-
ly behind them. Of course, those near-
est the camera leaned forward, causing
the camera-man to tear his hair and
prophesy dire punishment if it spoilt
the " take." By the time the animals
were recaptured a few hundred on-
lookers were there. George Dewhurst
begged them to go home, told them
he'd rather be alone, and finally bun-
dled all his players into a big motor-
van and said very loudly, '' That's all
for to-day." Nobody believed him,
and nobody moved. Still, somehow
before nightfall he had successfully
"shot" all the scenes he wanted, in-
cluding one or two in which he en-
listed the aid of the eager watchers,
thus winning their hearts for ever.
A Sister ta^
Assist" trm
rs. May " has arrived in Scrceuland. Possibly you met the
artful old lady when the late Fred Emney so successfully
impersonated her in vaudeville. A classic of the music-
halls, " A Sister to Assist 'Er," with its quaint catch
phrases and irresistible comedy, has been expanded into
a five-film reel by George Dewhurst.
The film " Mrs. May " is clever Mary Brough, who is
quite the best low-comedy star of to-day, and when I
heard that she was visiting Lambeth
in state (and in character), I hastened
to follow.
" Mrs. May " and her landlady
(whom she called " Daisy," but the
onlookers christened " Aunt Liz ")
held a little conversation at the door
of the house that was theirs pro tern.
They talked about haddock— beg,
pardon, " 'addick " — and the price
of pigs, after which they donned
outdoor attire of a fearful and won-
derful description, and George Dew-
hurst said he would take the next
scene at a fish stall.
He did try, but, unable even with
the aid of the police to persuade
spectators to retreat, gave up the
idea and retreated himself. In a
small, quiet alley he requested some-
one to " bring out the piglets."
With many injunctions to every-
body not to move, whatever happened,
and not to laugh, the filming started.
The two ladies allowed their squeak-
ing captives to escape as per scenario.
Everyone expected the four-footed
performers to dash madly away ; but
they didn't. They came along very
slowly indeed and gravely trotted
SEPTEMBER 1922
Pictures and PictureQoer
We began it on a shoe string,
as they say the other side
of the big drink, with just
nup'pence in the bank —
and a whole treasury of
promises — some apple-pie ones, others
splendidly genuine. And all on a
summer's day, a little commonwealth
of kinema artistes, a fellowship of
players, began this picture— high in
hope and low in funds.
But you will wonder what this co-
optimistic scheme was for. We have
a club all our own, and this poor little
sanctuary was rapidly becoming water-
i logged with debts. Cruel, stony-
hearted landlords, tax-collectors, gas
and electric-light folk were at our
] doors, and the position was becoming
; more than grave. We put our hands
! into our pockets, but, alas ! it was all
that came out, for the thin and lean
time, the time of stress, struggle and
strife has come to the kinema
world — so something had to be clone
to save our little club.
Our chairman — producer, father,
mother and friend all in one— went
to see the bank manager, and asked
for a loan to start this picture, but
this shrewd business man inquired
about our assets, and was told that
we had none save a lot of talent.
" Oh ! " came the laconic reply, " you
cannot raise money on that."
To which our champion retorted :
" Cnn't you just ! We'll jolly well
TKe New Co-Opt i mists
ONBvJOF THEM
The Kinema Club's production of " The
Crimson Circle," by Edgar Wallace, is
Britain's first attempt at co-operative
movie-making. It is an all-star picture in
every sense of the term, and this account
of the filrriing, written by one of the leading
players, is of unusual interest.
show you," only jolly wasn't the
word he used.
With no money, we had a little
whip round for running expenses (and
how they run !), and, having found our
cast, and our first location, secured
a story of Edgar Wallace's, and a
huge working capital of enthusiasm.
We launched our little craft, and then,
right at the start, ran into a rock.
The lady who was to play lead fell ill,
and we had to find another. After
a week with the new star, she received
a fine contract which took her away
from us. Fortunately, Madge Stuart
undertook the part, and, for a time,
our trouble was at an end.
We began " somewhere in Surrey,"
in a fine garden of the modern-antique
variety ; and thereby hangs a tale.
Our director wanted such a garden,
and called and asked for permission
to " shoot " there. The lady of the
house received him coolly, saying :
" I think you picture people are the
limit. You call at private houses
and ask permission to use their
gardens. For cool cheek, commend
me to film folk ! Well, you'd better
come in and have a drink."
The director, like the wise man lie
is, pocketed the affront, ami the
invitation, and in due course we took
our scenes there.
It was .Mammon in that garden,
but a little later on we went to an
old-world garden, centuries old, where
one could feel the truth of the verse
that " one is nearer Cod's heart in
a garden than anywhere else on
earth." ,
On another occasion, whilst waiting
to " take," a severe old lady in a
bath-chair "parked up" opposite
me, and snipped out : " So you're
picture people- -I've read about your
goings-on in the paper — you and
Fatty Arbuckle ! "
I nervously disclaimed all know-
ledge of him, so she said
" Well, I have heard of the large
sums of money you make, so 1 hope
you will subscribe to my fund for
Dr. Barnardo's Home ! "
Happily, I was at that moment
called for a scene, and she was trundled
away, I verily believe, terribly dis-
appointed not to find us gorging
ourselves on cocaine !
Having for days played hide-and-
seek with the sun, w-e finished our
exteriors, and then came the next
disaster Miss Stuart contracted
Pictures and Picr\ire$uer
SEPTEMBER 1922
pleurisy a legacy of this
variable climate— and when
the news came over the
'phone that she couldn't work
(or over two weeks, we all
felt like throwing up the
sponge. Not so our splendid
director — George Ridgwell —
Lawson Davidson's trouser-
crease is a revelation.
Clifton Boyne rushed
from the Adelphi to
give us a touch of
villainy. Dear
Sydney Paxton
supplies yet
another mellow
study — and
there are hosts
of others. And
in the ball-
scene all the
stars are there —
Marie Odette,
Joan Morgan,
Flora le Breton,
Rex Davis ....
But stop ! I'm
giving away a
secret, for there
is to be an im-
portant " Find
the Stars " corn-
connection with
Can
you identify
these players?
petition in
this picture.
I am afraid the old lady
in the bath-chair would have
thought the worst of us all,
for, in order to get every
kinema artiste of repute into
the picture, we had to take
the ball-room scene on Sun-
day !
Perhaps the Recording
Angel will bear in mind the
charitable cause. Practically
every star in the film firma-
ment twinkles brightly in
this scene, and look to it you
miss no one in making your
list, for vour kinema star is I
SEPTEMBER 1922
m
-■£:';
Pictures and Pict\jre$oer
very sensitive plant.
It is interesting to
note that had every
artiste been paid
for that day's work
in proportion to
their week's salary,
the scene would
have cost over
^2,000.
So if we chose to
give up a Sunday
to help the club,
and, maybe, start
a benevolent fund
for out-of-luck, out-
of-work brother and
sister artistes,
please don't be too
hard on us, old lady
in tlie bath-chair !
You will find the
dance scene full of
h!0
t*
19
\
A love idyll.
merriment, ex-
cept for the hero,
who is thoroughly
miserable because
he finds the hero-
ine dancing with —
but I mustn't give
away the story.
Whilst the hero
and heroine were
enacting a pathetic
scene " on loca-
tion " their pride
suffered a severe
shock. Two coun-
try housemaids,
members of a
group of interested
spectators, watched
the scene with ill-
concealed boredom,
and when it was
finished one ob- ob-
served to the other :
" Easy, ain't it ?
Fancy paying 'em for that !
Well, if everything else
.tails, me for the pictures I "
One bright spot in the making
iof this co-operative movie has
(been the wonderful spirit of
^camaraderie that exists in all
branches of the kinema indus-
try. Two producing firms lent
their studios ; a photographic busi-
ness gave us some film ; the cos-
tumes were all lent — even the camera
men came into line. The camera used
for filming the production cost a thousand
pounds, and we paid over £3 a week insurance
,Jn it whilst it was in our possession.
Directors, artistes, producers, camera - men,
scenarists, press-men, all combined, contrived, co-operated
Vpo-
a
>i
One of many dramatic scenes in " The Crimson Ci
rcle.
and contributed to save the Kinema Club and found a
Benevolent Fund for the profession. The fund is badly
needed, for, alas! the silver screen has many cloudy
linings ; and for " the poor player who frets and struts
his hour " on the screen, there are many shadows.
So that's the story of the Kinema Club picture. We
have made a film that we think will please, and we hope
when you see the production that the result of our
co-optimistic co-operation will meet with the approval
of every picturegoer.
With so many film favourites in the cast, each picture-
goer will be able to praise his or her particular pet amongst
British stars, and so everybody should be pleased with
the new co-optimists
. f J
r
AX-
w
NM
Who's who
in this picture ?
20
Pictures and Picture $oer
IWhfAts
c\Nc\me
M/orrh?
The answer is : " Untold
gold when allied to a
popular personality."
SEPTEMBER 1922
'.*;••
Xt depends upon whether it's the one your
W parents gave you or the one you
acquired yourself, if you're a screen star.
I Names, known throughout the length
and breadth of inovieland, mean so
1 much to some stars that they would
certainly never dreatn of changing
^i^them, professionally. That is
why Stewart Rome strove hotly for
the right to keep the name he'd popu-
larised when he left the company that
endowed him with it. A court of law con-
sidered the question, and finally decided
that he might have it. So that, in this case,
it was worth a law-suit. That his real name
is Wernham Ryott doesn't matter much.
It is the kinema cognomens by which the
public know and love their stars th'at matter
most, and just as a striking title is an asset
to a film, so is an agreeable-sounding appella-
tion a something every new-comer to film-
land likes to have. When Camille Ankewich
came to Famous-Lasky Studios, people tied
their tongues into knots when she was
" wanted on the set." " It's a striking
name," protested Camille, but eventually
it was struck off the register, and the clever,
dark-eyed actress emerged into prominence
as Marcia Manon. This star had a reason
just why Juliet Shelby should take exception to
her name is hard to explain. Mary Miles Minter
is certainly longer; but either suit the fair-haired
heroine of countless film romaiv es.
Once upon a time a pretty girl wrote to Lou
Tellegen, and sent him a signed picture of herself.
In return she demanded, " Your photo with your
very own name on it in your very own handw riting."
but
1
,^jW Shirley Masov and
"- ^ J. come Flugrath, or
■ice-versa -it's all the same.
h'isher."
When she got what she'd asked for. she
had a shock. The face was the face of
Lou, but the signature read. " Very
faithfully Yours, lsadore Louis Bernard
Edmund van Dammeler." Lou doesn't
use "his very own name" much — he left
it when he left his 'teens. Can you blame
him ? Had it not been for the photograph,
though, the recipient would surely have
thought someone was playing tricks. Simi-
larly handicapped were Silvion des Jardiens
and August Edwin Philip von der Rutz
(you know them only as Bobbie Vernon
and Edwin August).
It is very certain that to Mary Pickford,
■ " Mary," as a name for screen stars, owes
its popidarity. Everybody now knows that
Mrs. Doug. Fairbanks has only recently
legalised her screen name. She came into
movieland just Gladys Smith : and legend
hath it that the famous curls and the
famous name materialised together. Cer-
tainly there are many, many more Marys
in filmland than there would have been
had Mary Pickford elected to adopt Joanna
Grey as her movie designation.
Nazimova expresses to a nicety the
bizarre personality of Russia's best known
contributor to the art of the silent screen.
Yet the few Londoners who remember her
visit in 1905 knew her then as " Madam
Nasimoff," and one persistent rumorist
insists that Alia Orlenoff is correct. Alia
herself likes the sound of Mrs. Charles
Bryant as well as any other.
You surely know that Li la I.ee is really
Augusta Appel, and that Edna Flugrath is
BEPTEMBET* I V^
riuivrub dnu riLiurvyvvr
Robert Warwick
changed his name
from Taylor
Bien.
Whet
hclby, alias
lary Miles
Minier.
'ight : Jean Paige,
te Lucille U'Hare.
he only one of three
lever sisters to keep
he family surname.
hirley Mason's own name,
.eonie Flugrath, appeared
n the pay sheet of the old
klison studios, but she liked
hirley Mason better, and
o one calls her Leonie now.
j'iola, " the middle one,"
ept her first name, but left Flugrath for father and mother
Ind took Dana for her surname.
Rudolf the Romantic used to sign his letters home
Antonio Guglielmi," before he happened on Valentino.
>id you know that ? Also, that the leading lady in Ahvays
'udacwus, owns the baptismal soubriquet of Lehua Wai-
ahua, although the printed cast informed you that she
as Margaret Loom is.
Names like Lovely, Sweet, and Pretty really do sound
jo adjectival to be true. The first two were acquired in
le studios. Louise Lovely made her picture debut under
er own name De Carbasse. Later she became Louise
/elch ; but shed Welch at the portals of Universal City,
nd entered that stronghold as Louise Lovely. Blanche
sveet was originally called Blanche Alexander ; secondly,
'aphne Wayne, of Biograph ; thirdly, Blanche Sweet ; and,
stly, Mrs. Michael Neilan ; but Arline Pretty has never
langed her name for professional purposes. Pretty she
as always been, long before she knew what a Kleig light
as.
Delving amongst the private papers of this and that
Dpular favourite, we find that Anna Little is really Anna
rooks, and Doris May commenced film life as Doris Lee,
though in private they called her Helen Garrett ; that
ic " B " in H. B. Warner's name stands for Byron (Warner
not Henry's family name, but his father's stage name).
B. W. was known as little Harry Lickford in the days of
5 extreme youth. And Pauline Frederick, famous on
»th stage and screen, used to be Beatrice Libby when she
tended her own particular private school in Boston, Mass.
The third change was the last change in the case of Wanda
awley, erstwhile Wanda Petit, and originally Selma
ttack. Wanda acquired the Hawley with her wedding
ring and a perfectly good husband, yclept Burton Hawley.
That's one side of the question. On the other stands Corinne
Giiffith, whose wedded name is Campbell, and who, although
Corinne Campbell sounds good to us, wouldn't hear of being
prokssionally so titled. Indeed, though all the world knows
of Corinne's dircctor-actor-partner, she still
likes to pretend it's' a dead secret.
Spelling and pronunciation are accountable
for Ramon Samaniegos and Signe Auen
transforming themselves into Ramon de
Navarro and Seena Owen. Something other
than that caused Norman Kaiser to become
Norman Kerry. And we can't be very
harsh with Bob Warwick because he dis-
carded his own name of Taylor Bien ; nor
with Hallam Cooley Burr because he wouldn't
let the last bit stick to him for life.
Marjorie Daw is Margaret House when
she's at home ; and Colleen Moore, Kathleen
Morrison; Eugene O'Brien's
first name is Louis,,
though he'd hate you to
address him by it. Wally
Reid used to be known
as William Wallace Reid
when he was only a small-
part man ; but now that
he's a world-famous star,
everybody calls him Wally
— and he likes it.
Our own Peggy Hyland
was originally known as
Gladys Hutchinson, and
delightful fair-haired Claire
Windsor declared her name
to be Ola Cronk when she
and Lois Weber were first
introduced !
The how and the why
and the wherefore of screen
names is a fascinating sub-
ject ; and however well the
fan-in-the-street knows the
faces of his favourite stars,
he could hardly identify
some of them should they
register at the local hotel
in the names that are
thenrs by right, not
by adoption. ?. l.
■*T Mary Odette was once
b " Odette Goimbault."
Lila Lee
was "Augusta
Appel." Doris
May -was H
Garrett.
22
Pictures and P/cfv/repoer
SEPT
OTW
o travel over
a thousand
miles to obtain
the correct
locations for a
film, and then
to find that,
having found
exactly tin
spots he wanted, h
had to wait and wai
and wait (with hi;
whole company stand
ing idle) for nearly ;
month before he coult
commence work, is thi
disappointing experi
ence which Harry Mil
larde has had to endure
Following on his pro
duction of the ver*
successful Fox film
Over the Hill, Harn
Millarde was selected h
William Fox to brinj
his company to Eng
land to make a filn
version of "If Winte
Comes."
" Judging from you
June and ,J ul'
weather," he com
mented when I me
him, " your winter is permanent
there's no doubt about it
arrival*."
On no less and no more thai
five occasions, however, the sui
shone all day. The first time wa
when, for scenes which sho\
" The Pinks " of A. S. M. Hutchin
son's novel leaving Tidboroug]
for France, Millarde had a whol-j
company of soldiers belonging b|
" The Buffs " at his disposal, il
was the most successful day's filmin
Millarde had experienced in England
Amongst many other scenes, one show
ing the soldiers marching through th
Canterbury High Street was taken.
This caused no small amount c
excitement, for in order to get th
" shots " he required, Millarde ha
his camera-men set up their camera
in the middle of the street. Speci;
police (told off by the Chief Constable t
give Millarde the assistance he requirec
kept back the huge crowds of spectatoi
(who would insist on standing right in tf
camera line) and the main road traffic. F(
nearly half an hour half the Canterbury Hip
Street, leading to the West Gate, w;
devoted entirely to filming.
Then, headed by " The Buffs' " regiment
band, the soldiers made their exit from tl
town. Just as they reached the West Gat
Millarde shouted his instructions to his for
crowd artistes (who represented sistei i
wives, and sweethearts of the men), an
throwing themselves heart and soul into t
work, they marched cheerily along with t
soldiers.
From Canterbury and the soldier scen<
Millarde next turned his attention to t
country residence of Lord and Lady Tybar
the Northrepps of the book. And what i
number of " country seats " Millarde s.
before he was satisfied ! Few of thf j
rSEFlLMBLK iyz<j
ricrvres ana ncr\irevoer
^T
possessed the typically English atmosphere,
which, despite his short stay in this country,
he has grasped so wonderfully, and which
he is determined to show the world.
At last, on a very wet and drizzling day,
he came across an ancient Norman Castle
tucked away in the green downlands of
Kent. " That's what I want ! Now, to get
permission to ' shoot ' it ! " he gasped, as
he looked at it from various angles.
" Northrepps," as it will be called in the
film, has been shot many times, for the
ancient stronghold has been through troublous
times since it was first built in 1071. Here
fortunes and battles have been lost and
won, and still can be seen the gaps in the
towers through which a look-out was kept
for approaching enemies. Henry VIII. fre-
quented the castle when Anne Boleyn was
his wife ; and beneath the walls he had' built
for himself a huge swimming pool — stone-
walled and stone-roofed — now overgrown
with weeds and inhabited by pike which
wander in from the moat.
And around this famous old castle, Lord
and Lady Tybar and " Mark Sabre " (played
by Percy Marmont) have lived again through
the scenes of A. S. M. Hutchinson's book
characters.
When the sun has been
kind, Lord and Lady Tybar
have ridden on horseback
through the wonderful
grounds attached to the
castle ; they have passed
over the quaint stone
bridge and under the
ancient gateway which
was once the scene
of the hanging of the
Castle Governor.
" Mark Sabre " and
" Nona " have sat
together on a garden
seat under a tree
over five hundred
years old), and have
told, each other of
the wonder and disap
pointments of life —
just as hundreds of
years ago gay lords and ladies of
Tudor times confided in each
other 'neath that self-same tree.
" To walk over that bridge
gets me into the atmosphere,"
paid Millarde ; " but what's the
jase, when it rains, rains, rains !
¥ou might as well try to film a
■Sahara scene at the bottom of the
Mississippi"; then, with another
lopeless glance skywards, Millarde
etired disconsolately to the har-
less room attached to the stables
which once sheltered Cromwell's
lorses) to brood, and brood until
1 shaft of sunshine tempted him
»ut to reconnoitre once more.
They tell me last year you had
Harry Millarde directing a scene.
an exceptional summer," he laughed.
I'm going to reserve my next
trip until I get word you're in the
middle of another exceptional one.
These ordinary affairs are enough
to make any film producer think of
becoming a plumber or a diver.''
So the characters oi " If Winter
Comes " are gradually being brought
to life on the screen — the film is
scheduled for release in America in
October. I expressed my doubts as
to whether the filming would he
through in time ; but ever the
optimist, Millarde replied, " Never
fear — we'll work twenty hours a
day on the interiors to make up
for lost time."
The Buffs " make their screei in the film version of" If Winter Comes."
?4
nctvres ana KiCfxjreyuvr
oEHlEMBEK IWJ ■!
Seeii^-LirweKouse
e\ erybody knows, M,
Normand is a world-
famous film come-
dienne. To be strictly
accurate, she is the
most famous film come-
dienne, for as " Key-
stone Mabel," she had
her joyous way to
In •lore most of her
fellow - twinklers
were even heard
of. And, being a
comedienne, Mabel
is just naturally
father an unex-
pected little per-
son, chockful of
surprises.
Most lady film stars
who treat
themselves to
that 1 o n g-
promised trip
to little old
E u rope
usually
travel
with whole
trunkfu Is
of scrump-
tious feminine garments, incidentally
allowing a few empty ones as well for
a visit to Paris. The London porters
must have found Mabel's baggage
uncommonly heavy to handle, for
most of her trunks were filled with
books, and not of the light variety
at that.
So it didn't surprise me in the least,
when I looked in to see her at the
Kitz, to find her, as usual, buried in a
book.
You're just in time," she greeted
me. " I've ordered the taxi, and
we're going right down to Chinatown
to see all these wonderful things I've
been reading about."
1 picked up the book from the
chaise - longe to look at the title,
Limehouse Nights," by Thomas
Burke.
"Do it right now" is a typically
American motto; and 1 am tempted
to believe it must have originated
with Mabel. She told me whilst she
adjusted a smart little turban and
scrambled into a wrap that she had
just been re-reading some of the
stories, and felt she "couldn't wait
another minute."
We drove through the glittering
West End thoroughfares, with all thei:
jolly traffic and the bustle of a great
city preparing for its evening's amuse-
ment, whilst Mabel gaily chatted at
my side, telling me sketchily what
she had been doing since her arrival
in England.
Then we crossed one of the bridges
and plunged into that darker London
which lies to the south side of the
river. Followed an interminable ride
through a bewildering maze of mean
and dimly-lighted streets, till at last
the car slowed down in what seemed
to be some main thoroughfare between
Pennyfields and Limehouse Causeway.
" We'd better get out now and
walk," our escort suggested. " A car
in these parts is likely to attract too
much attention. I'll tell the drivel
to wait for us here."
We wandered up the Causewaw
then back again down Pennytiekls
towards the river. London's China-
town is rather an unpretentious affair
compared with that of Los Angeles,
where there is a beautiful temple
tucked away behind a maze m
crooked streets, and where some of
the little restaurants have their kit
conies so brightly decorated that yon
SEPTEMBER 1922
P/cfvres and PicfureOoer
25
Can almost imagine yourself under Eastern instead of Western
skies. Limehouse has an atmospl*?re all its own. The unfathom-
able spirit of the East broods over its drab streets and narrow
alleys.
A little Chinese two-year-old was seated on a doorstep in Penny-
fields, the only touch of youth and freshness we saw in those
mean streets. She was dressed in a spotless suit of white
" rompers," and was mothering a Teddy bear, much like any
British baby.
" Isn't she just cute, the darling ! " Mabel cried, and stopped
for a little chat. For a moment the Teddy bear was forgotten,
whilst the child appraised her visitor with a pair of solemn eyes,
evidently didn't understand a word of what Mabel was saying,
she must have decided that it was something nice, for gradually the
little face crinkled into a smile, and the chubby ringers clutched at
something bright and sparkling on Mabel's dress.
Babies, after all, are much the same all the world over.
We finished up the evening with a Chinese restaurant. Mabel
isn't the sort of person who is content with a superficial impression of
the mere outside of things. She wanted to see a real Limehouse
"interior," and she wasn't going back to the Ritz until she had seen
what she wanted. Diplomatically our escort steered us back to the
less dimly-lighted thoroughfare, where a policeman stood on guard,
She
but
Above : With
Jack Mulhall in a scene
from a recent production.
and halted before
a small eating-
house.
A brief argu-
ment ensued on
the subject of Miss
Normand's jewel-
lery. The expedi-
tion had been un-
dertaken entirely
on the spur of the
moment, and the
man of the party
was at some pains
to convince her that, though diamonds are all very
well at the Ritz, it was but reasonable to suppose
that a certain element of risk was entailed by
wearing them in Limehouse. Mabel, however,
thought otherwise, and absolutely declined to
entertain any suggestion that she should " pop
them into her handbag " by way of precaution.
So far, she had remained unrecognised, but
during this little discussion I noticed that two
small street arabs had crept up and were staring
at Mabe' with very suspicious interest.
" It's Mybel ! " ejaculated the one in a whisper,
hoarse with suppressed excitement.
" T'ayn't ! " The other was trying hard to
sound sceptical, though obviously half-convinced.
I tell yer it is ! "
Two small noses were immediately flattened
against the window when we took our seats at
the plain deal table inside. After a time they
isappeared. The ownei hail
evidently pattered away to
impart the " scoop " to their
friends.
The sensation of the evening,
in fact, was provided b\ hina-
town's Cockney population.
Those two small boys had not
neglected their opportunity.
On leaving the restaurant,
Mabel found herself suddenly
hailed with a delighted " Mybel!
Mybel ! Hello, Mybel ! "
A small crowd had assembled
and had been eagerly waiting
for her to re-appear.
They were not by any
means a classy or
fashionable gather-
ing, but they gave
their screen idol a
right royal welcome,
bombarding her with
questions. " What's
it like in America,
Mybel ? " " Is Mybel
yer real name ? "
How old are yer ?
And there was no
getting Mabel away
from them. We should
never have got her
back to the Ritz
that night if the
good-natured police-
man, who had hither-
to discreetly looked
another way, had
not eventually de-
cided that it was
high time to save
her from her friends.
They gave her a
cheer as the taxi
slowly moved away,
and she waved them
a last good-bye.
Els if Conn
26
Pictures and Picf\jre$oer
SEPTEMBER 1922
HOUSE PETERS
Will be seen shortly in UniversaVs big production.
The Storm." Has won many admirers by his work
tir "Silk Husbands and Calico Wives," "The Man
from Lost River," and other screen successes.
SEPTEMBER 1922
Pictures and Picture Over
27
DOROTHY PHILLIPS
Is Mrs. Allen Holubar in private life. Has been a
screen favourite for many years. " The. Right to
Happiness,'' "Once to Every Woman," and "Man,
Uro»M<rfi, Marriage" are her latest productions.
28
Pictures and P/'cf-urepoer
SEPTEMBER 192
HKLFNE CHADWICK
Made her screen ddbut in "Girls,'' ami has since
appeared in "Go, Get 'em, ('infringer,' "The Long
Arm of Manister," "Godless Men," and other popular
releases. She has fair hair an J bmxen eyes.
! SEPTEMBER 1922
Pict\jKes and Picturepoer
29
MAHLON HAMILTON
Joined the movies after an extensive stage career.
Some of his best-known pictures are " Daddy Long-
legs." "In Old Kentucky/' "The Deadlier Sex,''
" Earthbound," and "The Third Generation."
30
ricr\iK2s ana ncr\jre\?\jer
SEPTEMBER 192?
WHEELER OAKMAN
Has had an extensive screen career as leading man.
Married Priscilla Dean during the filming of " The
Virgin of Stamboul." He plays opposite his wife in
"Outside the Laze," which is released this month.
SEPTEMBER 1922
Pictures and Picture Quer
',2 SEPTEMBER 1922
r/L/ \JKS5l"
FILM STC
AT hO
The popular British film slar caul}
which contains many trophies that a
ryrevoer
SEPTEMBER \922-
| at his beautiful riverside home
fOWess as an all- round athlete.
34
ricrvres ana ricrurevuer
ocr i E.iviDcr\ i^z/
u y w of less
Above : Tess's home
on Chatswnrth Lake.
Left: Lunch -time on
location.
T~""V are-legged, bare-armed,
1 bare headed, ex( ept
I— <^ for a tangled mane of
\ sunny < urls, a small,
1 • energetic figure has
I been haunting Chats-
^^m worth Lake, Cali-
^r fornia, for the past
few weeks. A re-in-
carnation, i hough anything but
os1 With a big company
la vers, mi luding a dozen
delightful children, Mary Pick-
ford has made ( hatsworth her
headquarters for the exteriors
of l lie new version of her old
success, Tessibel of the Storm
" I shall surely re-film I
said Mary, when " Picturegoer " inter-
viewed her in England last winter. " 1
can'1 say just when, because the rights
.neii i mine yet, though they soon will be,
I hope." Thai she meant what she said,
these pid ures plainly prove.
Rack in i'H(. over eight years ago, in
Famous Lasky studios, the first screen
-urn of "' ressibel " was made; and
little Mary, a comparative newcomer to
the fold, roamed about in a pair oi fisher
woman's hoots, many times too large for
nd a dilapidated rag of a gown.
I(ss," with her
ud her impulsive ways, was the
biggest character-role that had, so far, fallen to Mary's
lot, and she revelled in it. So did the rest of the world
when the feature was finished.
In more or less abbreviated form, the old five-reeler
has been re-issued and re-issued again, to meet public
demands, which proves that the new film will receive a
rapturous welcome. Many scenes, hitherto omitted, are
10 be included in this second filming, and the Grace
Miller White story is to have eight reels (three more than
previously) devoted to its unfoldment. All the world
liked Mary's work in Tessibel ; but Mary herself finds
many faults with it, and means to make the new " Tess "
an improvement on the old.
Photography and settings,
etc., have naturally ad-
vanced much since the initial
production came into being.
The village scenes then were
probably made in the studios,
for Famous at that time
prided themselves on the fact
that they could (and did)
make " exteriors " in their
big studios. To-day, however,
squatters' huts were sub-
mitted in model form to the
star and her director (John
Robertson), and, after being
approved, were erected in
sufficient quantities to form
a complete fishing village by
Chatsworth Lake. The burn-
ing of these by the stern old
landowner will be a more
spectacular affair this time
than formerly.
Left : Inspecting
■ »'•— ,/ model with her
— director and
i-' camera-man.
if
~ f&
t* On location
at
Chat
Lake.
SEPTEMBER 1922
Pictures and PicfureQoer
39
PictvjKegoer Parodies
MaKv PickfoKd
khe
came from haunts of Maple Leaf,
And made a sudden sally
To banish all the pain and grief
From life's unhappy valley.
0
I She started life as Gladys Smith,
,^r But Smiths are all ill-fated,
So little Gladys died forthwith,
And Mary was created.
She changed her name for fame, but oh !
Our Mary changeth never,
For stars may come and stars may go,
But she goes on for ever.
She went to work with Biograph
When movies were derided,
And taught the world to cry or laugh,
Whichever she decided.
From film to film she hurried down,
Successes brought successes,
Till every soul in every town
Loved Mary's golden tresses.
Though some like black, some brown, some red
And people's fancies vary,
Breathes there a man with soul so dead
Who loves not little Mary ?
The chain that draws us in her tow,
Nor time, nor change can sever,
For stars may come and stars may go.
But she goes on for ever.
Like comets flashing through the sky,
Stars good, and bad, and rotten
Have pleased our eyes in passing by,
But now they are forgotten.
Where are the stars of yesteryear ?
'Twould tax your brains to find them.
No longer " still to mem'ry dear,"
They've left their, fame behind them.
Oh, Mary, first of movie stars,
Time cannot come between us I
Thou art as permanent as Mars,
As beautiful as Venus.
Though Fashion changeth ever so,
Our Mary changeth never.
For stars may come and stars may g<
But she goes on for ever.
40
Pictures and PictureQoer
SEPTEMBER 1922
British Studio Gossip
Mathfxou I ang as
l>ir>: I urpin
Tom King.'
dilhert as
No Smoke Without -
Master's Studio was one big smoke
(loud when I groped my way through it
on a very wet Friday. " Keep oft the set."
yelled someone. " unless you want- to be
rescued." I did as I was told, and when
my eyes grew accustomed to the thickene
atmosphere, 1 watched them rehearsing
the rescue scenes of The Old Actor's
Story, one of the series of ("•. R. Sims
poems being filmed there. The set
represented the deck of a burn
ing liner, so H. R. Parkinson,
the producer, informed me.
" And as soon as we've timed
the rescues correctly, we'll have
a few flames." He then dis-
appeared behind the scenario.
issued from the hold (1 pitied the man
down there), and the rfted proved too
much for the nerves of the youngest membei
of the east, a fair haired mite who had
been pattering about very happily. She
(Baby June Hamlett) puckered up her
face, and as her film mother caught her and
staggered across the camera's line of vision
with her. began to cry dismallv. It took
quite a while until peace was restored,
after which sounds of protest issued from
the hold, which was promptly dismantled,
and the property man, who had been im-
mersed therein and forgotten, was allowed
to come up and breathe
Burning their Boat.
The " old actor " told me, in the voice of
James Knight, that he- and " Nell," his
wife in the story, were waiting until the
rain stopped before being abandoned and
left to their fate on board a real ship,
which was moored a little way up the
river waiting to lie set alight. He ;eemed
to be looking forward to it, and had
blackened his face and hands in readiness.
In case yon haven't read the George R,
Sims' poem," he said, " 1 must tell you
that wre're old at the beginning of the film,
and 1 tell the story of our ups and downs
in life. We're going to stick to our ship
till she gets too hot to hold us, then when the
camera stops, we dive into the river and
swim for it." " It's cold ! said " Nell,"
who, none other than Stella Muir,
ooked exactly like Mary Pickford,
curls and all, only a size larger
" But I'm all ready." Stella returns
to the screen, after a long illness,
in The Old Actor' a Story; she
will also appear in The Lights o'
London, another in the series. But,
sad to say, when the rain, having
kindly ceased, " Joe " and
went through their fiery
they stayed below just
seconds too long. For
Knight is now bemoaning the loss
of his eve-brows and lashes, and
Nell
ordeal.
a few-
James
-Flames.
They had a fine collection of
smoke-bombs, also half-a-dozen
giant-sized clay pipes, or, at
least, that's as near as I can
get to a description of them.
" You unscrew the top, so,"
said Bert Wynne, suiting the action to the
word. " Fill them up with this ; apply a
light, give a puff or two, and there you are.
Like to try ? " It was hard to refuse, for one
of my secret ambitions is to smoke a clay pipe ; but
I was doubtful as to its effects, and declined the
honour. They called up the " Captain " (Booth Con-
way) and the crew again, and after one more rehearsal,
the " passengers," most of them in their night attire,
were successfully assisted across the deck into non-
existent boats.
All Hands On Deck.
The final studio shots of the " fire at sea " were very
realistic, for the combined eflorts of those responsible
produced a row of leaping flames before the man at tb
,|
few str;
1 >< • 1 1 i 1 1 < I lun
smoke
Coiire : Carlyle Tilackwell and Evelyn Greeley.
' Filming a scene f«r " Rob Roy." (launtonl's historical
drama .
Stella Mair lias an un
appreciated souvenir
in the shape ot a
badly ■ bruised arm.
And so ended The Old
Actor's Story for that
flay.
Storm and Strife at
Aberfoyle.
Eight hundred supers-
took part in the big
battle scenes of Rob
Roy, including four
companies of genuine
Highland soldiers (the
Argyles and the Suth-
erlands) . Aberfoyle,
at eight o'clock
that
fames Knight and Stella Muir in " The
Old Actor's Story."
morning, was idled with men from Glasgow
and men from Stirling, who seemed abso-
lutely spoiling for the fray. Possibly they
had a few old scores to work off upon each
other, for Will Kellino had little cause to
complain of lack of realism.
Holding The Fort.
" Inversnaid Fort " (specially erected
for the occasion) formed the centre of
activities, and fierce contests were waged
round the gates. A Stirling man and a
player in the MacGregor tartan went for
each other with claymores, egged on to
greater fierceness by the director. " Now
slay the MacGregor ! " shouted Kellino.
" We'll ' take ' this time." " Whit's the
use ? " retorted the " slayer." " I've killed
him twice already, and he'll no die."
Late in the evening, when the combatants
mustered for home in the special trains
arranged for their conveyance, the casualty
list had mounted from five to fifteen.
Considering the vigour with which the
" mountaineers " waged their battles, the
number is surprisingly few, for the scenes
were on the biggest scale yet staged in
Great Britain.
Filming Dick Turpin.
Stolls have finished Dick Turpin's
Ride to York, a scene from which appears
on the opposite page. Matheson Lang
makes a right gallant " Dick," doesn't
he ? The other figure is " Tom King,"
played by Lewis Gilbert. The dashing
highwayman, beloved of tradition, who
Stewart Rome as he appears in " The White Hope
relieved " the wealthy as well
as the needy, though in slightly
different fashion, is, of course, the
central figure all through. The
weather did its best to interfere
with the " Ride to York " scenes,
but British players and pro-
ducers are used to its vagaries,
and excellent " shots " were se-
cured between the showers. Isobel
Elsom, Cecil Humphreys, Norman
Page, and Malcolm Todd are a
few of the favourite players who
compose the fine supporting cast.
I wis 1 1- donned hei shaw
and shiny black hat and
become " Squibs " again
for another film. Titled
Squibs Wins the Cal-
cutta Siveep, it intro-
dui is the three principal
Cockney characters of
the first film, and will
be released some time
before Christmas.
The Great Moment.
According to scenario,
" Squibs " hears of her
good fortune from a
reporter wdiilst she is
plying her trade as a
London Mower - seller.
So to Piccadilly Circus
Betty Balfour, Fred
Groves, and a few other
players went in a closed
motor. Twelve o'clock
noon is usually a busy time by
the fountain, but passers - by saw
nothing unusual in the spectacle
of a young fellow with a notebook
stopping to whisper to the youngest
and prettiest flower-girl. But when
she uttered a whoop of joy, and,
seizing his hat, flung it up in the
air, and then, scattering flowers
pell-mell, dashed round the foun-
tain embracing and kissing her
companion - workers, everybody
turned to see what was happening
Betty's Winning Way.
Life is one comedy-charac-
terisation after another for Betty
Balfour. Since playing the name-
part in Wee MacGregor's Sweet-
heart (you'll distinctly approve
of Betty's curls, not to mention
her delightful work in this), she
across the
on point,
was about
creating a
She gave
What The Crowd Saw.
They saw her prance
road to the policeman
They wondered if she
to give herself up for
disturbance. She didn't
the " Bobby " a delicious smile and
a bear - like hug which nearly
knocked him off his feet, and then
they all disappeared into the wait-
ing car, which bore them out of
sight in a twinkling. History doesn't
state where George Pearson hid
imself and the camera, but the
" take " was over in a very few
seconds.
Betty Balfour in " Wee
MacGregor's Siveetheart."
Victor Macl.aglcn and F. Martin Thorn-
ton, star and producer of " A Sailoi
TramP."
//0/W/-C-/ u; iu
\%AStrer\uous
Star
George Larkin, specialist in screen thrills,
thrives on an adventurous diet.
heads, Larkin has succeeded in dodging
death in numerous features and serials,
the most recent of which are The
Lurking Peril, The Man Trackers,
and The Unfortunate Sex. Broken
ribs and ankles, disclocated shoulders
and concussion of the brain have
figured as the price of his daring
on several occasions, but his extra-
George Larkin in
"Boomerang Justice
The nerve specialists are commencing to
gaze through their horn-rimmed spectacles
at George Larkin, and they are shaking
their grey heads over his dare-devilry,
which is toppling over their pet theories
like card castles. For Qver ten years
this slim dark young man with the laughing
eyes and iron nerve has been lacing death
before the film cameras, yet he is still
on the sunny side of the walls of a hospital for
neurasthenics. According to the doctors, he should
be a nervous wreck, but he still light-heartedly
dives from the seventy - foot masts of steamers,
fights screen villains on the lofty girders of thirteen-
story skyscrapers, and falls over fifty-foot cliffs with
the abandon of a cat who still has nine lives well
in hand.
George Larkin commenced his screen career of
thrills way hack along the path of kinema history
w hen one of the pioneer film serials, The Trey Of
Hearts, was produced. He startled picturegoers at
that time bj sliding up a fifty-foot machine pulley
belt, travelling at sixty miles an hour, and leaping
to safety just as the iron cogs controlling the leather
hand threatened to reduce him to a form of human
mincemeat. Since those early days of thrills, when
producers did not have to work out new hairbreadth
escapes with the aid of wet towels encircling their
ordinary recuperative powers have
speedily brought him out of hospital.
The hero of a thousand screen escapes
is now starring in a series of features
for the Russell Productions, entitled
Boomerang Justice, Bulldog Courage,
Barriers of Folly, and Saved by Radio.
Physical culture, swimming, and
riding are his methods of bracing
his nerves ; day-loijg gallops
out to the hills around Cali-
fornia bring him back to the
studios ready for any and
every movie danger.
I * J
Elsie Ferguson is
one of the few stars
who can make the
transition from
stage to screen, or
from screen to
stage, with indis-
putable success.
Mtf Vad Pygmalion
I j I lived in the
I 1 t wen tie th
| I century, an
I I astute Editor
f I in all prob-
■ A ability would
^ have com-
missioned him
to interview Elsie
Eerguson. Eor there
is something sugges-
tive of bringing a
marble " Galatea "
to life when one
seeks to discover the
deeper emotions of
this statuesque star.
She hides so much
that is human be-
hind a deceptively
cold and dignified ex-
terior. Yet, if you are
patient and talk to
her of the work that
she loves, of the artistic future of the film, and of
her picturesque home in the Californian Hills, then,
like the goddess of legend, she sheds her statue-like
pose and radiates her love of life.
I watched her clear grey-green eyes change from
coldness to warmth and enthusiasm as I chatted to
her in a dressing-room of wonderful mauves and purples
at the ornate white studios at Long Island.
I had been piloted through a vast glass-roofed chamber
strung with glaring lights that gazed down on resplendent
sets like giant watching eves, then up three flights of winding
where Elsie Eerguson
awaited. It was all
rather like a presenta-
tion at Court, for many uniformed keepers of doors had
to be passed before I was ushered into the august pres-
ence of one whom I was interviewing on behalf of her
subjects, the picture " fans." Certainly she heightened
this illusion of regal impressive-
ness. She was very stately as
she crossed from her dressing- ■
table and held out a jewelled
hand with much of the dignity
that I would imagine Cjueen
Elizabeth affected when she
extended her greetings to Sir
Erancis Drake before the curi-
ous eyes of courtiers. Yet her
manner did not suggest affecta-
tion. She was rather like a
beautiful oil painting that
commanded respect through
the artistry that had created it.
Nature has fashioned Elsie
Ferguson on aristocratic lines,
from- hjurnished Titian hair to
her slender, shapely feet, and
she has been given an im-
perious tilt of the head, and
a stately, swaying walk. Such
physical attractions do not
reveal the entire Elsie Eer-
guson. Beneath this attractive
combination of charm there
is the thoughtful, emotional
woman who places her love of
artistry before empty pride,
and prefers her books and
simple home interests to the
limelight of public life with
which an appreciative world
would envelop her.
" Sit down and have some
tea " was her very human
greeting, and my visions of
Queens and Courts faded, and
I saw in their stead an attractive hostess presiding with
simple charm over dainty blue-enamelled tea cups.
" I love to have colour around me," she confessed,
noticing my admiring glance at the delicate shades of her
dressing-room decorations. " When I am working before
r/c/ urtr^ ar\u r i c / w r e (,/ ue r
itn tlVibt-K \V22
the cameras, amidst settings that are
bright with colour, I am always happy ;
but it is very sad, I think, when lovely
shades of rose, orange or blue are
turned into greys or whites on the
screen."
She spoke slowly and thoughtfully,
as is her custom , and although she
was discussing little that was really
serious, there was a wistful sadness in
her eyes. Elsie Ferguson's face is
made for tragedy. It may be a trick
of the shadowed light that lurks
beneath her eyes, or the droop of the
corners of her mouth of coral-red that
creates this suggestion of pathos. Vet
it is an expression that the screen has
-so often caught during her emotional
characterisations.
When you came to the screen
from the stage, no doubt you
missed the atmosphere of
colour-music, and the in-
spiration of large audiences that you
knew behind the footlights ? " I sug-
gested, carrying on her train of
thought.
She nodded her regal head with
a reminiscent light m her eyes.
It was difficult at first,"
he told me. " Do you
In " l.udv
Rose's ,
Daughter." M «""^ ?
know th.it, altei playing before huge
audiences in theatres, I found in the
film studios that 1 could not give my
best work if there was even one stranger
on the set whose presence was only
prompted by curiosity. One pair of
watching eyes which I felt were not
sympathetic were more trying to me
before the cameras than a thousand
people gazing at me from beyond the
footlights."
Temperament. 1 suggested.
I know that I have a reputation for
what people call fireworks,' " she replied
with a smile. " But 1 do not really
stamp and storm if things go wrong in
the studios. That would be fatal for an
artiste who is at all highly strung. If
me lets their nerves get out of hand,
the cameras are going to punish
you. For, in emotional work
such as mine, the greatest
self-control is needed. That is
a curious phase of dramatic
acting. The more frenzied
you may appear on the screen,
the greater the self- repression
needed to reflect the varying
depths of emotion, in accord-
ance with the length of the
scene determined by the pro-
ducer."
v\s she sipped her tea, I
noticed the character in her
hands, the power in her long,
slim fingers and the narrow,
shapely palms, to suggest
sympathy or tragedy. My
mind went back to those hands
as 1 had seen them gliding over
the tangled hair of the dissolute
Diaz in Sacred and Profane Love.
There Elsie Ferguson indicated
how she has the true artistic sense
of expressing emotion with subtle mannerisms that with the
clever actress do much to take the place of the spoken word on
the screen.
" You found the part of ' Tarlotta ' in Sacred and Profane
I. ore an exhausting one ? " I asked her.
" Had 1 not had a sympathetic director," she assured me,
it would have been very difficult at times. I do not think
many people realise the importance of an understanding
producer when a temperamental artiste is playing
before the cameras. If anyone shouts at me, my
creative powers seems to shrink into nothing.
A really human produce'r can bring the
best work out of one, rather like a musician
reflecting the clearest notes from a delicate
instrument."
Elsie Ferguson loves her work. You
can see how her heart is in the studios,
wdiere the arc-lamps glare and the
cameras whirl the thousands of feet
of "celluloid through the velvet-lined
slots from early morning till dusk.
As she talked of films in general, and
her own in particular, her former
self-repressic n gave way to an en-
thusiasm that brought animation to
a face that was still more
beautiful now that some-
thing of the mask of
sensitive shyness
had gone.
She told me
how she admired
Fitzmaurice, and
that he invariably
SEPTEMBER 1922
Pictures and PictureOoer
45
inspired her best work. ' Talking o( my tempera men 1
she said, with a quid smile: " it was I'it/tnauricc who.
little time ago, made me repeat a scene beneath drenchii
water pipes. I had to climb into a brougham dressed
in a, Victorian gown of purple velvet, and decorated with
delicate lace ruffles. The 'studio' rain came down
and soaked me, and whilst 1 stood cold am
bedraggled at the side of the set, I heard the
ominous warning thai a re-take would be
necessary. There had been a mistake with
the cameras, and only half the scene had
been taken !
" 1 had to spend the best part of a day
renovating my costume. Perhaps [should
have been angry if the sympathetic
Fitzmaurice had not looked so worried
and apologetic ; so, instead, 1 laughed
over it all. It is the human touch in
the studio that does so much to make
things work smoothly. If there were
more sympathetic directors, there would
be less heard about temperamental film
artistes "
Whilst we were on the subject. of the male
sex, I endeavoured to discover if she had
any favourite man on the screen, of
course, for Elsie Ferguson is verv
happily married to Thomas Clarke,
a New York banker. This alliance
has provided still further evidence
for those who advocate the mar-
riage of contrasting natures. For
the husband of the Lasky star is a
shrewd business man, well known
for his practical, commercial acumen.
He is very dissimilar in tempera-
ment to the highly strung Elsie,
vet their marriage is one of the
real romances of filmdom.
Playing, as 1 do, such varied
emotional roles," she told me,
the quest for an ideal leading
man is a difficult one. If I found
him, I should have him to play
with me in every picture. It is
a question of adaptability to the
part that has to be presented.
Whilst I am actually appearing
with one of my screen-lovers, I
always imagine that they are ideal,
but that does not mean that they
would appeal to me in a different
characterisation. Conrad Nagel
was a sympathetic lover in Sacred
■ J*.
One of Elsie's delightful nid-fashioned gowns in " T.adv Rose's Daughter."
and Profane
who helped
my portrayal of the tem-
peramental ' ( arlotta ' to a
very large extent Hut ' TVd ro
de Cordoba, in Rarbarv Sheep,
was just as much an ideal to
me whilst we were playing
together It is not fickleness,
but just an appreciation of
character-presentation, as it fits
into the scheme of the picture
a I the moment. In The Rise of
[envy Cushiiti;, I was happy to
run away with Elliott De.xter,
>ut some time after I was just
as ready to give my happiness
in lite into the keeping of VVynd-
ham Standing in Eyes of the
Soul, for the purposes of the
picture. "
To hear PIsie I'erguson talk
her film characters is to
realise thai they are very real
to her She has the soul of
the artiste behind her work,
and she carries in her memory
mental portraits of the parts
she has played, and ■ those
that her fellow -ai tistes have
iresented with her. very much
• is one treasures .w\ album of
photographs of very dear
friends.
She told me laughingly
that she had committed so
many murders on the film,
and been associated with
death in various violent forms,
that she often wondered what
the great world of picture
goers thought of her real
life character
It was rather a relief to
46
Pictures and PictureQuer
SEPTEMBER 1922
me," she added, " when I advertised for the loan of a child
in my picture, The Lie, to be met with an overwhelming
number of offeflB from trusting mothers. It proved that
they had not lost faith in my integrity."
In reality, Elsie Ferguson, in choosing sad and poignant
phases of life as the vehicle for her screen presentations,
has discovered what is undoubtedly her flair. She has a
touch of fatalism in her eyes which she can accentuate with
extraordinary impressiveness ; and many will remember
the realistic desolation and despair in her face when she
gazed on the still form of ' Ispenlove ' after he had shot
hnnsell for love of her in Sacred and Profane Love. It
was nunc than acting. It was an expression of the
natural sadness that so often exists in those of an
introspective nature.
There is something suggestive of
her nature in the quietude of her i,tiffl^
dressing-room, which is situated >*''
away from the noise and
moil of the great studi
below. It is rather
like a study, for
books line one
side of the room,
and tables covered
with photograph
albums are scat-
tered about the
spacious apart-
ment.
She confessed
to me that she
was always a little
afraid that the
mechanical side of
picture production
might affect her
creative acting.
"Although I na-
turally admire the
science that lies
behind the work
Above : In " Eyes of the
Soul." Left and right :
Some film creations.
of a modern studio,"
she said, "I think
that a sensitive artiste
should endeavour to
disassociate herself
from it as much as
possible. When I am
playing, I always visu-
alise a vast invisible
audience, and do not
think of the inscrut-
able i aniera lens or the
Inssmg arc-lamps."
' That must have been
difficult when you first
came t<> the studios ? "
I asked.
She smiled reminis-
t ently.
" I always remember
in my first picture, Bar-
bai y s/'i ' /', how the direc-
tor (old me that I had to
walk on to a balcony
and express my
pleasure at the
delight of a won-
derful moonlight
night. The sky
on that occasion
was a huge
black drop -V ^
of painted
canvas, and
the night
breeze emanated
from a creak-
ing electric
fan a few yards
from my elbow.
Of course, since
then I have acted
amidst beautiful
natural surround-
ings in the coun-
try, and in pic-
turesque houses.
Yet that has al-
ways made me
admire the pion-
eers in pictures
who knew little
of the wonderful
settings amidst which modern
artistes appear. Registering
emotions before canvas back-
grounds and similar crudities
of the early days of the films
must have been very trying."
Like Gloria Swanson, Elsie
Ferguson has the fear'that the
beautiful clothes that invari-
ably accompany her screen
characterisations may suggest
to the picture public that to
a large extent she relies on
dress to secure effect.
" I welcomed the part of the
down-trodden slum girl in The
Rise of Jennie Gushing, for, on
that occasion, I was able to
dispense with elaborate cos-
tumes."
It is in keeping with her
love of the open air that she
studies most of her film parts
lying in a hammock in the
garden of her Hollywood home.
The shrill voice of the studio boy announcing that -Miss
Ferguson was wanted in the studios brought my Pygmalion
quest to a close. The Galatea of the films again became a
statuesque figure as she rose, her slim form suggesting
stately height with the light of the window throwing it into
sharp relief against the mauves and purple of the decorations.
The dreamy veil had again fallen over her expressive
eves, but as 1 shook her shapely hand, I knew that I had
-< < ured a glimpse of the real Elsie Ferguson that has neve*
vet been conveyed from the screen.
SEPTEMBER 1922
Pictures and PictureQoer
47
SA
Evelyn Brent,
the popular American Film Star now
playing in British Films, says of
" Eastern Foam " —
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protects the skin against east winds."
Jt is de<
refresnin
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Refreshing beyond words after dancing,
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If you are not already a user of
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4«
Pictures ar\d Picture Qoer
SEPTEMBER
^;1%r
v^jafs
'THE weekly wash is such a simple task with
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and avoids ruined complexions and rough,
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Put the clothes to soak in cold water
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SEPTEMBER 1922
Pictures and Picr\jre$oer
4u
SHADOWLAND
CR/T/CAL -ABOUT PLAYS AND PLAYERS IN - CURRENT
COSS/P PICTURES,
The absence of " Picturegoers
Guide '* caused many readers
to write appealing for its re-
installation. This month the
information contained in the
" Guide " will !>o found below,
but future issues will include
the feature in its original
form. Septeml>er makes us
decidedly serious in our film-fare ;
farces are non est, and comedies few
and far between. We have favourite
stars once again with us, for Lillian
Gish, Betty Compson, Priscilla Dean.
Jackie Coogan, Marie Doro, and Mabel
Normand have one release each The
French serial, The Three Musketeers
(Sept. 4), is a notable addition to the
month's attractions — no Dumas-lover
should miss it ; and The Glorious
Adventure, the first all - colour film,
with its mammoth cast of stage,
screen, and society favourites, is
released by Stolls on the same date.
The Glorious Adventure has a com-
plicated plot ; it has been novelised,
and can be obtained from the pub-
lisher, Cecil Palmer, Oakley House,
Bloomsbury Street, London.
Jackie Coogan proves once again his
right to stardom in My Boy
(Pathe, Sept. 25). From the moment
the shabby little orphan from France
arrives on Ellis Island (where all im-
migrants land) and the grandmother
he expected fails to meet him, he
enlist* one >> sympathy Somewhat
reminiscent of Tht h'xt is the way
Jackie and the grumpy old sea-
captain he " adopts " take care of each
other. Jackie's rich grandmother
doesn't appear until the final reel, so
that there is no lack of pathos. All
his own are " The Kids methods of
putting over " humour and tears :
he has plenty of the latter, for the
story tends to martyrise him rather.
Claude Gillingwater's embittered old
seaman stands only second to his
"Karl of Dorincourt " study. The
other roles are unimportant, but
capably filled ; and the feature is well
directed and satisfactorily photo-
graphed. After a too long (for him)
sojourn in hospital, Jackie is at work
again now on Fiddle and I. in which
he has chosen one of the tallest screen
stars (Eileen Sedgwick) for his " oppo-
site."
Movie-makers must have ransacked
their old store cupboards again
this summer — so many ancient stories
are being refilmed. Besides Mary
Pickford's Tessibel, we have Wallace
Reid in The Ghost Breaker : and now
Norma Talmadge's husband has just
bought Within he Law for her future
use. Vitagraph filmed this five years
ago, with Alice Joyce as " Mary
Turner " and Harry Morey opposite.
Fox's have just released their new
version of A Fool There Was, with
Kstelle Taylor in the role that brought
Theda Bara into prominence.
"\T Welcome news for picturegoers
VV with memories- Dorothy Gish
and Dick Barthelmess are to be seen
together again The film is a pit
tunsation of " Fury," by Edmund
Goulding, and will be commenced the
end of next month. Without benefit
of monkey glands, Dick Barthelmess
claims that he had twent\ years
taken away in less than ten minutes
Yes, you've guessed it. Dick grew a
beard in order to appear as his own
father in The Bundbuy, the film he's
now at work upon. One barber, one
razor, and a pair of scissors removed
the growth and the years together.
The main idea of The Bargain
(Imperial, Sept. 4), the imper-
sonation of one man impersonating
another so as to secure an inheritance,
is a very old one, and not even Henry
Edwards's skilful work as producer and
chief player can prevent this from
being noticeable. Still, with its ex-
cellent settings, good continuity, and
delightful acting, it provides pleasant
entertainment. The missing heir in
this case is the villain of the piece ; as
Rex McDougall plays him, one can
understand his father (Henry Vibart)
paying him to keep out of England.
Chrissie White hasn't much to do, but
she is a natural and charming heroine ;
50
Pictures and Pict\jreQoer
SEPTEMBER 1922
IS
Where a
Corn
Hurt,
You
at the Root!
Cutting the top of a corn off with a
razor or burning it off with caustic
lotions, plasters, etc., doesn't do
any good. It may do great harm
by causing infection or even blood
poisoning.
Al.-'i it hurts and the root jusi sprouts right
up again, so your corn soon lias a brand-new
top m iking it biggei and more painful than
i eer. I lie top is only dead skin anyway,
rhe business end of a corn i.s the little
pointed part or core that extends down
into the toe. lli.it i- what hurt'- when it
presses on sensitive nerves, and it is the
pari v in have to .get out. A good
handful of Reudel Bath Saltrates
dissolved in a gallon or so of hot
water will soften corns and
callouses, like water softens soap.
|n-' • ■• -X. them in this Ini a while, then
lake hold . i the torn with your fingers
iikI out r will '.line root and all. I'hc
letined Kcudel Hath Saltrates oists
w-n I an; i hemisl will have
i! . A half-pound l- sufficient to rid
'.in. whole familv of all foul troubles.
^MOTION PICTURE
STUWO"
is the only paper issued
solely in the interests of those
engaged in the production of
British hlms. Through this
paper you will know when the
stars go on location in your
district, and what is happening
in the Studios: The " Motion
Picture Studio" is also the
Official Organ of the
Kinema Club.
5/- Three Months,
10/- Six Months,
'" free £1 per Year. 'Pott free.
Subscription
• -J*
2 £**->"
The. rescue, a stunt scene (rum " Ten S'iglits in a liar Room," which has been given
a special release in London. •,
and Mary Dibley is almost unrecog-
nisable as the slatternly wife of ;i
Western ranch owner.
Two new serials of the month are
The Sky Ranger (Pathe, Sept 14)
ami The Bine Fox (Sept. 7). The first
concerns a pair of rival inventors, one
of whom specialises in searchlights
which signal to Mars ; the other in
aeroplanes speedier than shotguns.
George R. Seitz and June Caprice star ;
and Harrv Lanrles and Peggy Shane are
a realistic villain and vamp. Sky, sea,
and land are the backgrounds of thrills
which will please the sensation -seeker.
George B. is hard at it just now
directing Pearl White in Plunder.
Anna Little -stars in the other
chapter play, The Blue Fox,
which contains that dearly beloved
ingredient of the serial writers, a feud.
True to type, a gang chase the hero
and heroine through thirty reels, with
a fight in every one ; with aeroplanes,
snow scenes, and underground pas-
sages thrown in gratis. Congratula
tions to Anna Little on her riding and
other stunts ; she is one of the best
horsewomen on the screen, besides
being an excellent actress.
Tom Mix is serious again this month.
No more patent devices for
lightening household labours. 1 hi
Sight Horsemen il ox, Sept. 25) is a
sequel to The Untamed, and the hero
thereof, amongst other qualities, pos
sesses eyes thai turn yellow when
their owner ' sees red." The opening
is slow (for a Mix film), but when two
villains pursue Tom at once matters
begin to move. There are all kinds of
fights, and capital riding, roping, and
shooting displays by Mix, with the best
thrill of all at the end. The cast,
which includes May Hopkins Pert
Sprotte, Lon Pott, Sid Jordan, and
Harrv Lonsdale, is a line one
\7ery thrilling, very melodramatic,
very illogical, but very well
worth seeing is A Tale of Two Worlds
(Goldwyn, Sept. 18), which has an
all-star cast headed by Leatrice Joy,
Wallace Beery, J. Frank Glendon,
Jack Abbe, Irene Rich, Edythe Chap-
man, and Dwight Crittenden. The
Boxer rebellion sets the ball of ad
venture rolling, and some fast-moving
incidents occur before the heroine,
whose white parents are killed, is
taken to America by a faithful Chinese
and brought up as an Oriental
Wallace Reery is a horrible specimen
of a villain, and the crushing-machine
torture he inflicts upon his victims
so gruesome that it is a relief when
a poetic justice is meted out to him
Gouverneur Morris wrote the story
especially for Leatrice Joy, who is
now a Paramount star.
BettvCompson is the sole attraction
of Prisoners of Low (Goldwyn,
Sept. 25). lor the story is sordid social
drama, though it has a big idea. It
is Betty's first star production, and
is well produced, acted and photo-
graphed, but there is an underlying
suggestion of nastmess that will jar
sensitive onlookers Emory Johnson
[Ella Halls husband) plays opposite
Betty, and Roy Stewart, Ralph l^ewis
and Claire MacDowell support. Except
for ardent Compson " fans,'' there
are too many 1 lose ups of the star ;
and surely, e\en in the movies,
husbands don't tensor their wives'
letter^ like that Betty has just
finished an elaborate costume pro-
duction of / Ha, ■ and To Hold,
with popular Pert I. vtell opposite
her.
After her startling success as
Rose, in The Miracle Man.
Rem Compson headed her own star
company, but, contrary to expecta-
tions, was very verv glad to becorn«
SEPTEMBER 1922
Pictures' and PictureQoer
51
.1 featured player again. " Having
one's own comparn is a terrible
responsibility," she told an interviewer
recently. " I had to supervise all the
sets, sign the cheques, choose ihe
storv, select the casts, until acting
became a sort of spare time hobby
with me." Now that she's a Para-
mount player, Betty rather wants to
appear in a Cecil De Mille featun
Gertrude McCoy has onlj one real
opportunity in The Golden Dawn,
and doesn't fail to make the most
of it. This occurs in the last reel ;
the rest of the time the thin story
gives neither her, nor excellent charac-
ter artistes like Mary Brough and
Sidney Fairbrother, very little chance
to show what they can do. The
plot concerns an actress who falls
in love with a blind man. Her
husband, supposedly dead, reappears,
is shot by a burglar, and the heroine
is accused of the deed. Warwick
Ward is fairly good in a difficult
role, but there is hardly any real
" punch " in the story, and which
has been told in a most ordinary
wa y
A serial boiled down to feature
length, with thrills and sensa-
tions treading fast upon one another's
heels, Cold Steel (Jury, Sept. 18)
ts remarkable, chiefly for the excel-
lence of J. P. McGowan's acting as
the " strong, silent " hero The plot
is ablv worked out, the incidents
exciting ; and there are fine lighting
and effects in the storm scenes. Four
villains try their utmost to dispose of
Steele Weir," but he eludes and
outwits them time and again. The
cast includes F.linor Fair, Kathleen
Clifford, Milt Brown, and Nigel de
Brulier.
Did you see any of the old Triangle
Kavbee melos of Indians,
border towns, dance hall girls, etc.,
" Pimple," who is returning to the soft)
famous musical clown, <ila
'■'< hi did von II be irresistiblj
reminded ol them bv Tlu I I'. Trail,
[Wardour, Sept. ii) Even the cast
is principalh composed ol Kavbee
favourites ; we have Kathlyn Williams
as a good-bad woman, |oseph Dow
ling as the profession,! I gambler,
and Robert Mi Kim as a lerrifically
wicked villain The book, by Zane
(.rev. is 'loiibtless familiar to all,
and the film bristles with adventure
and action, with plenty of .shooting
and killing, and pretty Marguerite
de la Motte having a terrible time
for many reels. We've seen Kov
Stewart to better advantage than as
Warren Neale " in this film, which
is crude at times, but undoubtedly
thrilling.
^Tot as good as most of the Swedish
^i productions is Let No Man
Put Asunder (General, Sept. 23).
Its theme is unattractive, though
finely conceived, dealing as it does
with religious controversy, but the
emotions aroused are morbid. The
idea of the priestly mind preying upon
the superstitious ignorance of his
parishioners is powerfully brought
out, but the continuity is poor, and
makes this semi historical tale hard
to follow in parts. Jessie Wessel, as
" The Woman," strikes a dramatic
note, and Edith Erastof is sympa-
thetic, but Ivor Nilsson as the priest
is altogether too theatrical. Some
beautiful countryside views, beauti-
fully photographed, and excellent in-
terior settings wilt partly, but not
wholly, compensate. The storv on
which the film was founded is bv
Strindberg.
The story of Dangerous Lief (Para
mount, Sept. 11) is anaemic in
the extreme, and it is certainly
nothing like the usual E. Phillips
Oppenheim yarns. It concerns the
two daughters of a rector, one of
whom marries a swindler, but leaves
'i nurd on page j?.
. is see>i below on location. Grock, the
nds on the comedian's left.
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52
Pictures and Picturepoer
SEPTEMBER 1922
A Scientific Fat - Reducer.
Mme. Alice Delysia, the charm-
ing French actress, says : —
" / am ill-lighted to sav that Rodiod is one of the
most scientific fat-reducing creams. 1 have em-
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all those who wish to keep a slim figure, as no
dieting is needed. — (Signed) Alice Delvsta."
Rodiod ,s ,1 remarkable fat-reducer .1 i|Ui< kly give-,
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Beautiful
Eyebrows !
Jf you want perfect EYEBROWS
like your favourite Film Star, visit
" DAY,"
7, BEAR STREET,
LEICESTER SQUARE.
She will shape them to suit your face,
and the improvement will be astounding!
Painless, Permanent, and Inexpen-
sive, so why have Ugly Eyebrows ?
Iiim. Later first employed by, then
wedded t<>. .t certain Sir Henry Bond,
she keeps secret her first marriage,
and from one lie is led to tell a hun-
dred more before she makes a clean
breast of it all and finds happiness.
The cast, which includes David Powell,
Mary Glynne, Minna drey, Lieut-Col.
English, and Warburton Gamble are
all extremely good, so is the direction
and photography, and a few London
exteriors are well chosen and well
away from the conventional "spots"
usually selected by movie makers.
1 1 *hey had practically a whole house
1 erected for Dangerous Lies at
Famous Lasky's Islington Studio.
Library, bedroom, hall, with staircase,
and even an attic, were all standing
next door to one another on the two
big floors there. On the day the
" elopement " scenes were shot, Paul
Powell needed a tabby cat for a scene
or two, and the black specimen that
still haunts the studio seemed to
resent the presence of the intruder
very much. To prevent a fight, Paul
Powell held her whilst the other was
on the set, but professional jealousy
(or temperament, if pussies suffer
from temperament), caused by two
retakes of the tabby, resulted in a
vicious attack on the part of the
black beauty. Whilst trying to calm
her Paul Powell had his face rather
badly scratched. With the proverbial
patience of the producer, he took it
as part of the day's work, and didn't
even call the offender anything more
lurid than a " naughty pet."
An excellent husband and wife
story is The Money Master
(Paramount, Sept. 18), which stars
James Kirkwood as a French-Canadian
philosopher who, after successfully
dominating his own little parish,
Exciting scenes were witnessed during the
Beaulieu. This ph
is surprised and disappointed to tin. I
the rest of the world knowing little
about him and caring less How
this " Barbille " neglects his wife,
narrow ly escapes becoming a murderer,
and loses his fortune before he finds
peace, take five reels in unfolding.
The story is a moving one, and follows
the well known novel, by Sir Gilbert
Parker, closely. Ann Forrest, Alice
Hollister, Charles Ogle, Mabel Van
Buren, and Alan Hale head a capable
supporting cast : splendid scenic effects
and good photography add to the
effect of one of the best films of the
month.
Matt Moore plays a very attrac-
tive burglar in Straight is The
Way (Paramount, Sept. 21), which
has an excellent opening, and tells
of a bad, bold cracksman who mas-
querades as a detective, and after-
wards forswears stealing. It is a
kinematisation of a novel by Ethel
Watts Mumford Grant, and makes a
thoroughly interesting film. The two
forlorn women in whose house the
burglars hide, and who are later
befriended by them, are well acted by
Gladys Leslie and Mabel Burt; and
George Parson is quite g od as " Loot "
Eollett, the burglar hero's Xew York
chum. Production, sub-titling and
photography, especially in some good
night scenes, are well up to standard.
Iife in South America is anything
_-, but dull if The Fire Cat (F.B.O.,
Sept. 25) is a fair sample of it. The
scenery is wonderful, there's a thrill
every day, and an extra one when
Mt. Cotopaxi erupts and destroys
a Peruvian mining town and its
wicked citizens. Also, hate, revenge,
and cowardice stalk abroad at all
times and seasons side by side with
filming of J. Stuart Blackton's picture at
oto shows Mary Clare in a moment of peril.
--**'
SEPTEMBER 1922
Pict\jK25 and Picture Over
53
Douglas Fairbanks perjorms some exciting stunts in
the Blood."
current release,
oj
fiery Spanish dancers, half-castes, a
wicked renegade, and a derelict en-
gineer who proves to be the hero of
the piece. Edith Roberts is excellent
in the title-role, and Wallace McDonald,
Walter Long, William Eagle Eye,
Beatriz Dominguez, and Olga D 'Mo-
jean support. The photography is
very fine, with good silhouette effects,
and the play contains many thrills,
though not much humour.
Victor Seastrom produced God's
Way (General, Sept. 20), and
also contributes a fine character
study of a hard, proud old man. The
film is notably artistic and well acted,
and, like almost all Swedish pro-
ductions, realistic without being sor-
did. Though compelling and inter-
esting, all the while the story is
simple, and sensation-lovers may find
it slow. The discriminating picture-
goer, however, will delight in the
charming interiors and exteriors, the
human charm and interest of the
plot, despite its intentional drabness,
and the fine acting of Seastrom himself,
Tora Teya, Tom Weyde, Nils Lundell,
and Bertie Malmstradt, solemnest of
solemn small boys. The picturesque
costumes and customs of these studies
of Swedish life make them a welcome
change to the everlasting Society and
Western dramas America send us in
Such quantities.
Unless you're an out-and-out senti-
mentalist you'll be bored with
Lavender and Old Lace, even if you
enjoyed the book. The Myrtle Reed
Story depends too much upon fine
character drawing, lace pinafore, white-
haired old ladies, ami bundles of
scented love letters to make a good
screen vehicle. I!ut there are two
romances, an adequate cast, and some
comic relief, and the languid life in
New England many years ago is
presented with a great deal of (harm.
Marguerite Snow plays the old lady,
whom the scenario compels to be
" a long time a-dyin'," and James
Corrigan, Seena Owen, Victor Potcl,
and Louis Lcnnison play other
characters familiar to admirers of
the popular work of fiction. This
Wardour release is due on Sept. 28. .
The first of the long list of Scotch
stories is with us this month in
Christie Johnstone (Walturdaw, Sept.
18). In 1923 there will be dozens
of them, for every other British
producer and a couple of American
ditto has gone North for a change.
Christie Johnstone is " adapted from
Charles Keade's well-known story,"
which means that although the charac-
ters are all there, they behave in
slightly different fashion on the screen.
The story has become a pleasantly
simple romance, and the early Vic-
torian atmosphere is there in all its
(to us) faded glory. Gertrude McCoy
is sympathetic and charming as the
fisher-lass heroine, and Stewart Rome,
who co-stars, will please his admirers,
although his role of a Victorian
Viscount gives him none too much
scope for dramatic work. Clivc Brook,
Mercy llatton, and Adeline Hayden-
Coffin appear in supporting roles
Several opportunities for dramatic
situations seem to have escaped the
eye of the producer : the photography
is good, but unequal.
Other releases of the month are
Uncharted Seas (Jury, Sept. 11),
with Alice Lake and Rudolf Valentino ;
The Silcci Car. an Earle Williams
I WILL GIVE YOU £50
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54
Pictures and PictureOQer
SEPTEMBER 1922
super (Vitagraph, Sept 25), Made In
Heaven, with Tom Moore and Helen
Chadwick (Goldwyn, Sept. n); Color-
ado, a Frank Mayo feature (F.B.O.,
Sept. 18) ; The Devil's Garden, starring
Lionel Barrymore (Moss Empires,
Sept. 15) ; General John Regan, with
Milton Rosmer (Stoll, Sept, J 8) ; and
True Heart Susie, a Griffith production,
with Lillian Gish and Bobby Harron
(Walker, Sept. 4). Also Beatrice, with
Marie Doro (L.I.F.T., Sept. 4).
7 ""here is a problem in The Breaking
Point There is also that which
will cause the tears of sentimental
film fans to How Jike rivers, especially
when the persecuted, suffering wife
of the rich waster threatens to shoot
her baby daughter to keep her from
association with her wicked father's
friends. It is a sad story with the
agony piled on and drawn out, but
the social atmosphere is well caught,
and there are many tense moments.
Bessie Barriscale plays the unhappy
lady they all delight in persecuting ;
she is excellent, as usual, particularly
in the highly emotional moments.
Wonder when Bessie will break away
from studies in suffering spouses !
The all-star cast includes Walter
McGrail, Joseph Dowling, PatO'Malley,
Wilfred Lucas, and Ethel Grey Terry,
and the film is released on Sept. 4
by Wardour.
A well-told and forceful plot,
skilfully presented,
with the Tombs, the
Bridge of Sighs, and
the famous Sing - Sing
Prison itself for back-
ground, make The City
of Silent Men (Para-
mount, Sept. 4) a film
that should not be
missed by Thomas Meig-
han fans. Tom is fond
of playing the crook (on
the screen), and always
contrives to be likeable.
In this case the scenario
helps him greatly. He is hunted
from pillar to post until the final reel,
when his pal (Paul Everton) obtains
a pardon for him. The detective and
chief huntsman is played by George
McQuarrie in exaggerated fashion,
Lois Wilson is the inevitable " girl
in the case, and Kate Bruce shines
in a mother part. Needless to add,
Tom didn't commit the crime they
sent him to Sing-Sing to expiate.
HPhe brothers De Mille are totally
1 unlike each other in their
methods of treating a domestic prob-
lem . but, then, the problems they
tackle are widely diverse. The Lost
Romance (Paramount, Sept. 25) is
an original screen story bj Edward
Knoblock, a sentimental romance,
artistically screened by William I >e
Mille, and based on an age-old domestic
problem. The chief characters are
mil ieall\ sympathetit the ivifc is
foolish, the husband peevish, and the
othci man too sentimental (01 words
The technical side of the production
is good, the sets fine, and the acting
excellent wherever possible. Sub-titles
abound, and preachy ones at that,
but the all-star cast, headed by Jack
Holt, 1-ois Wilson, Conrad Nagel,
and Fontaine La Rue, do theirt.(-0j'
with their material. |e are
„ . t, , ection
T^eaturing David Egremond,Dmion
Man Who Sold His Soul f
well
Sept. 11) is a cut-back to early r^)0^s >>
days when stories with Fauij.s
bargains were swallowed in all se
house
and he becomes a national hero. Bert
has the support of Lucy Cotton,
Virginia Valli, Mary Louise Beaton
and William Roselle. One must con-
gratulate the producer upon the
g$geljence of the street scenes.
The sto
the ue]'lent as he is in The Man
Parker^0' Bert Lytell is distinctly
Hollistc'ntlng m -4 Message From
Buren, lurv. Sept. 15). He over-acts
support1 nis might, and perfect as the
and gc;i°n 's on the technical side,
effect cts double - exposure scenes,
month ular nre and rescues, it leaves
one with a feeling of disapproval.
Most of us know the popular play,
and a few remember the first
screening, a British production, with
Charles Haw trey in his original role
of Horace Parker. His rendering
and Bert Lytell s are as the poles
apart. In the current version, whilst
the London exteriors are carefully
staged, we have the usual " atmos-
phere " so dear to the heart of the
American producer in the shape of
an ubiquitous hansom cab and two
lamp-posts. Seldom yet has an am-
bitious production showing somes of
Ixmdon streets been made in American
studios without these inevitable
" props." We had them in Dr.
Jekyll and Mr. Hyde, but will not have
them in Barrymore 's Sherlock
Holmes, because Jack came over
specially for the street scenes,
which were made on the spot.
The hero of The Septi-
mental Bloke figures
" Meditation and Mirth " is the title of this remarkable camera
study of Elite Norwood. You will see the reason for the title if
you cover up one side of the portrait at a time tvith a piece
of paper.
ness by an unsophisticated public. But
if you don't smile when the Evil One
(clad in correct evening attire) signs a
business-like document and affixes a
seal to it, you may be able to enjoy
the clever incidents and effects that •
follow. The banker, the other party
to the contract who sells his soul for
wealth, which he undertakes to dis-
sipate at the rate of a million francs
a day, certainly has a run for his
money, and, aided by a workgirl who
loves him, manages to finally defeat
the gentleman from the nether regions.
The film was made in France.
Of Bert Lytell 's two current releases
/ //, Man Who (Jury, Sept. 25)
will probably please Ins admirers the
most. A refreshingly original plot, of
the corned) -drama kind, it concerns
a returned soldier, who. urged by
the girl he loved to -do something.''
parades the streets barefoot as a
protest against the price of shoe-
leather thus commences a campaign,
figi
also in Ginger Mick
(Gaumont, Sept. 11),
which is a life-like picture
of a certain phase of
Australian life and
character. The character
of " Ginger " matters
more than the story ;
he is excellently played
by Gilbert Warren-
Emery, and whether at
racecourse or restaurant, or later in
Gallipoli, he is unaffected, human,
and real. Once again, weird Aus-
tralian slang enlivens the sub-
titling, and Lottie Lyall and Arthur
Tauchert are seen as "The Bloke"
and " His Wife." It is a sentimental
film, but unexaggerated and amusing
and tear-compelling by turns.
T X 7illiam Russell has a good Wild
VV West drama in Singing River
(Fox, Sept. 8). Alone he fights against
a hard, hard world full of hard,
hard knocks, both for him and for his
adversaries. It is all done for the
love of a lady, played by VolaVale,
and well done in bright, breezy and
adventurous fashion. Very fine moun-
tain and prairie scenes are shown.
and the fights are thoroughly realistic
Jack McDonald is an interesting figure
as " The Drifter," a tramp who figures
largely in the story, and other parts
arc filled by Clark Comstock and
Art lini Morrison
Pictures and PictureOoer
55
nabltr also
latest shades and colour-
ing $7-38 inches wide.
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p. If any difficulty in t'Nai'iiug "J UV ISCA," fileinc write to thi manufac- =
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S maubmy. London, K.C. -', who will send yen the name of i/ir nearest §|
H ret, tiler selling it, and an illustrated Booklet giving particulars.
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Only regular usersof Robin
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"W7HETHER you are proposing
** to spend your holiday at
hotel, boarding-house or furnished
flat, you will find Price's Night
Lights ideal for use in unfamiliar
surroundings.
Safe, steady-burning and economical, pack
a box or two of Night Lights with your
luggage.
Queen of
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is delightfully refreshing
and beneficial to the *kin.
It removes all roughness
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VANI^HINC '
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As fragrant as the Rose.
56
Pictures and PictsjKeOoer
SEPTEMBER 1922
lien Vurpiti's music
does not appear to
impress Phyllis ,
1 1 iiver.
Ki
r\ert\aLarois
HARRISON FORD.
Wallace Reid is lovely,
Creighton Hale is, too.
I hurry to the pictures
To see dear Monte Blue.
But there is one still better
With whom I'm never bored,
His name (I guess you know it)
Is good old Harrison Ford.
D. W. (Pendleton).
MY HERO.
J is for John, who is my choice,
O is for Others who like Alice Joyce,
H is for Handsome, which truly he is,
N is for Never his films would I miss.
S is his Smile which shines forth from
the screen,
T is the most Topping actor I've
seen,
I* is for Us who simply adore him,
A is for Aberystwyth where we really
saw him.
R is for Ripping, this favourite of
mine,
T 's for The brightest of all stars that
shine.
Aline (Cheshire).
AN OPEN LETTER.
Dear Miss Doro,— Boldly taking
l-p once more his patient pen,
An admirer, ne'er-forsaking,
Dares to write to you again,
And hopes that you will not refuse
Your kind indulgence to his Muse.
Other stars who bring us pleasure
Grace our screens l>n i none with
more
Than a very little measure
< )t the beauties making \ oui
Dear art (above reproach or strictures)
The poetry >>f motion pictures.
Why we love you, need I tell you ?
Or could I your charms describe ?
For a smile our hearts we sell you,
W7ith a glance our eyes you bribe
Till (as powerless in your sight)
Cares dissolve in pure delight.
Wood-nymph from some Grecian fable,
Would not Earth be Heaven's reflex
If some magic could enable
All the members of your sex
To grow the Marie Doro way ?
Younger and prettier every day !
E. J. F. (Bayswater).
LOUISE FAZENDA.
O, Louise Fazenda,
Not sweet and not tender.
Why is it we
Write a poem to thee ?
We're tired of the faces
And delicate laces
Of butterflies
With goo-goo eyes.
And oli ! how we tire
Of the stately Vampire,
Whose only charms
Are legs and arms.
While the ingenue
Serves to send us away
From the pay-box
To darn our socks.
But Louise Fazenda,
Not fair and not slender.
When we see thee
We chuckle with glee.
Our laughs you engender
O, 1. iiin.se Fazenda,
That is why we
Write a poem to thee.
H. C K.-F (N.W.3).
PULLING PICTURES TO PIECES
I This is your department of Pkii m.-
goek. In it we deal each month with
ridiculous incidents in current film*
releases. Entries must be made on posU\
cards, and each reader must have his
or her attempt witnessed by two oihert
readers. 2/6 will be awarded to the]
sender of each "Fault" published in
the Picturegoer. Address : " Faults,'
1'kturkgoer, 93, Long Acre, W.C. 2.,
A Secret of the Frozen North.
When " Roger," in The Xorth
Wind's Malice, left the claim, he buried
his pick and shovel in a hole. On|
his arrival at the township, however,
he drops his pack, etc., from his
shoulders, and the pick and shovel
are seen on the ground beside it.
Did the North Wind blow them after
him ?— E. M. (Hendon.)
Small Change.
In To Please One Woman, one
person talks about " cents," whilst
another, " Cecilia," asks for " six
pence " to buy some cigarettes
Someone hath blundered ! — L. W.l
(Leamington).
No Wonder a Deputy Was Required, j
A sub-title in Corinthian Jack de-
clares that Lady Barbara Dane was
a reigning toast at Wells in Waterlor
year (1815), thus giving the periot
of the story. But the hero is showi
deputising for (of all people .') Jen
Belcher in a fight with Bill Richmond
Apart from other criticism, it is wortl
noting that Belcher had been in hi
grave four years at the date in question
he having been born in 1 77 1 , and diec
July 30, 1811.-M. F. H. (London).
A " Burning " Kiss.
Fred Groves, in Judge Xot, is seei
struggling with a girl and makin
vain attempts to give her a kissi
But he had a cigarette in his mouli
the whole time, so that she wouli
have had a hot time had he succeeded
-— G. S. W. (Dunfermline).
A Laundry in the Swamp ?
In The Great Gamble, the here
Charles Hutchison, is pursued int
the swamp by the villain. Naturalh
Charlie's breeks get muddy. But
view of him farther in the swam
.shows him wearing clean and freshl
creased trousers. How did Hutchiso
manage this ? -H. H. (Welling
borough 1
The Restless Raincoat.
In The Restless Sex Marion Davu
is wearing a motor coat when si
leaves the ruined car, but when si
arrives at the" nearest town, which
three miles away, she is seen wearu
a raincoat with a belt. Did she a
at a tailor's on the way ? — C. '
(Hackney).
SEPTEMBER 1922
Pictures and Picf-ureOvzir
57
"\
K
FTER bathing in
the morning your
face is not in the mood
to hold powder without its look-
ing " floury."
Apply Pomeroy Day Cream first ;
when this has " vanished " dust with
Pomeroy Powder in a shade to suit
your colouring. Then you get a lovely
bloom ; but the means whereby you
get it are invisible.
Pomeroy
Day Cream
2/6 & $/- a Jar
Pomeroy
Face Powder
2/6 a Box
Js all Chemiiis and Starts
Mrs. Pomeroy, Ltd.,
29 Old Bond Street, London, W.
M
"Good Things for Children.
Dean & Son have boon very busy preparing a wonderful
catalogue under I Ik- above heading, In it has been col-
lected books which will be a great delight to all the
little boys and girls who will' want lo be amused in the
nursery or when away at the seaside or country this
summer.
DEAN'S
Children's Story
Books.
We wish we could show you here all the lovely covers
of these books, so typical of the House of Dean quality.
There are hundreds of youngsters who would start very
blithely on their holidays with one of the following books
tucked under their arms : « A RAILWAY BOOK FOR
GIRLS AND BOYS," "OUR HOLIDAY AT
THE FARM." "TUBBIE AND TODDIE IN
THE COUNTRY." But the best way to sec- the
whole new series is to visit youi bookseller. Never
have the children been so pampered and petted in the
way of books before.
In the Theatre
good form suggests the removal of your hat -
but usually at the expense of your care-
fully coiffed hair dress. The Venida Hair Net
worn, but not seen, will spare you the annoy-
ance of Hair disarranged, keeping it neat and
trim -as fresh after the performance as before.
Venida comes in but one size, and you can depend
upon getting the correct size at all times. The
cap shape is exceptionally popular on account
of its ease of adjustment, and the fringe shape
can be adjusted according to individual taste.
In both cap and fringe shapes.
AH Colours
White or Grey
2 for 1/-
!/■ each.
,Venida double mesh same price.
VENIDA HAIR NETS ARE GUARANTEED, and if un-
satisfactory will i, REPLACED WITHOUT QUESTION.
V
ENIDA
?/?e> CZuoAcvntui*
HAIK^NET
Obtainable at leading Drapers, Chemists and Hair-
dressers. If your dealer cannot supply you, send
direct to us, mentioning dealer's name and address.
VENIDA LIMITED,
REGENT HOUSE, REGENT ST., LONDON, W 1
58
Pictures and Picture $oer
SEPTEMBER 1922
I J A 1' A N
>^F (London).
V Jf - Try send -
[ ing about one shi
W ing with your re-
' quest next time.
v Your post office
will tell you how
to send it. Sessue
Hayakawa usually
I sends photos to his
-^U. " fans." (i) The film
you name was an
Italian production. Cast not available
now. (z) Haven't heard from Fritz
Lieber for many months ; he's on
the stage again, I believe.
Flo and Willie (Leith). — (i) Wil-
liam Russell, born April \i, 1887, in
New York City, (2) Not at present.
(3) Tom Mix is somewhere in the
thirties.. For Big Stakes is his newest
Westerner. (4) No.
M. R. (Stockport).— Elaine Ham-
merstein and Edward Langford in
The Shadow of Rosalie Byrne ; Edna
Murphy and Ed. Roseman in Fan-
tomas ; and in The Spite Bride, the
late Olive Thomas, Robert Ellis, Jack
Mulhall, and Irene Rich.
Betty T. (Blackburn). — (1) Casron
Ferguson is on the road to stardom.
Yes, he's a nice chap. His latest
photoplays are A Virginia Courtship
(Realart), and At the End of the
World (Paramount) ; earlier ones are
Merely Mary Ann, Mutiny of the
Elsinore, The Prince Chap, Secret
Service, Johnny Get Your Gun,
Madame X, and How Could You,
Jean ? (2) Charles Meredith was the
man you admired in The Thirteenth
Commandment. (3) That film needs a
special presentation, and they haven't
been able to find a theatre yet.
(4) Either call, or send specimens of
your work to any of the British
studios ; you'll find a list of them in
' The Motion-Picture Studio," price
5d. post free, from Odham's Press,
Long Acre, London, W.C. (5) You
might find those films at some little
out-of-the-way kinema : they're not
likely to be re-issued generally.
(6) Milton Sills played in The i
The Mysterious Client, The Stronger
Vow, The Fear Woman, Eyes of
Youth, I'nngerous to Men, The Faith
Healer, Little Lady of the Big House,
Miss Lulu Belt, and Turn to the Right.
C. M. (Suffolk) — No postcards of
that player now. She's at school,
I believe.
mirer (London). —
Warner Oland is
Swedish ; he's not
yet married. (2)
Eille Norwood 's a
Britisher, married to Ruth Mackay.
(3) Can't supply No. 1 of " Pictures,"
but other back numbers are obtainable
from Publishing Department. Your
taste evidently runs to villains, as you
consider Warner Oland the finest
film star extant.
G. A. S. (Kingston-on-Thames). —
(1) Eugene O'Brien in The Safety
Curtain ; Vernon Steele in Silks and
Satins ; Chester Barnett in Girl of the
Sea. (2) Rex Cherry man was in
Scattergood and Camille, which you
can see this month. I believe he's still
with Metro. (3) Ralph Graves in
Dream Street and Ora Carewe and
Milton Sills in The Little Lady of the
Big House. (4) " My Merry Rock-
hurst " has not been filmed yet.
O. J. W. (Charlton). — You're quite
right. The pieces shall be put together
again forthwith.
The Uncurly Kid (London). — (1)
Cullen Landis is a Goldwyn player.
You'll see him later in The City Teller,
The Man with Two Mothers, and The
Night Rose. (2) Can't do that for
you, as it's against the rules. You
can write Cullen Landis, c.o. us.
Put And Take (London). — Go to
the bottom of the class. We had an
interview with Carol Dempster in
the June 4, 1921 Pictures; you must
have missed it. (1) Carol is a Califor-
nian ; her birthday was January 6,
1902. Early career as a dancer with
Ruth St. Denis ; on the screen she
appears in the Griffith productions,
Romance of Happy Valley, The Girl
Who Stayed at Home, Scarlet Days,
The Love Flower, and Dream Street.
Now working at Mamaroneck in At
The Grange. She also played in
Black Beach for First National. Carol
is dark-haired and dark-eyed. (2)
Made in Heaven is Tom Moore's
next release (September 11). I thought
both the films you named good of
their kind. Conrad Nagel was born
at Des Moines, Iowa, on March 16,
1896. He was on the stage this side
with -the Little Women American
company. Did you see him ? The
Lost Romance is a September release.
Midsummer Madness. July 3. You
were certainly lucky to receive photos
from the stars
D. S. K. (Wilts). — I can't recom-
mend any Kinema College, for I've
no faith in them. The one vou name
is genuine, but sonic of them are simply
traps to catch your money. (1)
Louise Lovely's height is 5 ft. 2 in.,
weight, 1 28 lbs. Fair hair and blue-grev
eyes. She's an Australian, born in
Sydney, 1896; educated in Switzerland
and her home town. Stage and
vaudeville career in Australia ; screen
work with Universal, Yitagraph, and
Fox and Goldwyn. Poverty of Riches
and Heart of the- North are her two
latest films. (2) Gaumont filmed the
Kid Lewis v. Frankie Burns Contest.
F. D. (Chislet).— Write to Tom
Mix and ask him. I daresay he'll
oblige you.
M. S. (Lanes.).-— That was A Daugh-
ter of the Hills, with Laura Sawyer as
Flora." William Farnum did play
Marcus " in Sign of the Cross.
B. B. (Brixton). — Didn't you read
A Day with Monroe Salisbury" in
the July, 1921 Picturegoer? His
last film is The Great Alone.
Kit (Perth).— (i) That player has
starred in many comedies, but he is
not likely to appear in any more
films now. (2) Harold Lloyd isn't
married. (3) Yes, they usually do.
(4) Stewart Rome's eyes are blue-grey.
(-) Yes ; Bryant Washburn's married
to Mabel Forrest, and Petrova is
Polish, not Russian.
E. A. H. (St. Leonards-on-Sea). —
(1) Appendicitis. (2) No. • (3) You
can try, anyhow. Sessue Hayakawa
usually replies, but he's in Japan at
the moment, so you may have a
long wait. (4) Art-plate of him in
the August Pictures. Welcome to
the fold. You can write whenever
you feel like it.
M. C. (Sunderland). — Cast of that
film not available. It is very old,
and was never sent to England.
Dustin Farnum and Winifred Kingston
played the leads. Mary Miles Minter
will be seen in all her Realart films
the end of this year and the beginning
of next. Anne of Green Gables is
one of the best ; but you won't see
it yet awhile.
C. C. H. (Liverpool).— Several ver-
sions of Lorna Doone have been filmed
The latest is Tourneur's production fo
Ince, withlMadge Bellamy, John Bo\\er>
and Frank Keenan the chief players
No photographs obtainable at present
Cluden (Manchester). — Very mam
thanks for suggestions. It's alway!
fatal when I try to be funny. Once
made a joke in these columns, anc
I've never been allowed to forget it
If you can see the same film sever
times over, then you're a real Fan.
Mossican (Surrey.). - — (1) Ton;
Moreno's 34. Pauline Curley a littl
over 20. They are not husband an<
wife. (2) It costs about 8d. per foot
Are you good at sums ? (3) Yes
on the cover of the July 17, 19*
issue ; and the centre of August z^
1921. (4) Two thousand feet, approx
mately. (5) Depends on the sty!
of film. (6) Is a warning to the Fai
mini Fans that Mossican's a Mix-it
and a Jujitsu expert. Brickbats t
Nazimova and bouquet to Rut
Roland duly noted.
SEPTEMBER 1922
Pictures and Picture Over
59
Mercy Hatton is never without them.
This popular Film Star writes : —
' ' After spending a long day before the camera in the open
air, I find Pond's Vanishing and Cold Creams most effective
and refreshing for combating the effects of the sun and wind. I
am never without these invaluable complexion beautifiers either
in my studio dressing-room nr my home.
-(Signed) MERCY HATTON."
POND'S VANISHING CREAM to protect in the day-
time—Pond's Cold Cream to nourish at night. That is the
way to preserve and beautify your complexion. Pond s (the
Original Vanishing Cream disappears instantly into the pores,
leaving no sign of use save a delightful odour of Jacqueminot
Roses. Pond's Cold Cream, applied before retiring, supplements
the natural oil of the skin, cleanses the pores, and prevents the
formation of lines and wrinkles. The use of these two creams is a
pleasant way to guard your skin from the ill-effects of sun, sea, wind,
and rain. You are safe with Pond's Creams, which never promote
the growth of hair.
"TO SOOTHE AND SMOOTH YOUR SKIN "
Hoth 'Cr/nnit p/ all Chemists and Stores in handsome Opal Jars.
1/5 and 2/6. Also collapsible Tubes, 7Jd. {handbag size), and I/.
POND'S EXTRACT CO.
(IVpt. t^o1, i. Southampton Row, London. W.C. !.
Pontic Co1d Cream &
Vanishing Cream
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for Perfect
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For a ridiculously small sum you
can have (h<» ideal Home Outfit 1
fur permanent waving or curling 1
your own hair in th. famous 1
Gab) <-r M Bobbie "' styles per-
fected by Gaby's Bond Street
Salons, Kach outfit »^ guaran-
teed non • burning and non-
frizzing tki only satisfactory
method yet devised '
Srn.i to day for t'R} h particulars trot
tht ficu'erf of the «•/. Kvnd Street (tat
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IS YOUR HOME LIFE HAPPY? |
If you love, knowledge alone is needed to make your dearest
ones happy also. This knowledge you will find in its best g
g and truest form in Dr. Marie Stopes's three great books : — g
MARRIED LOVE
181st Thousand, 8 • nat (Poat 6d.)
WISE PARENTHOOD
, 180th Thousand, S 8 nat (Poat «d.)
RADIANT MOTHERHOOD
38th Thousand, 8 - nat (Poat 8d.)
SEND EOK DESCRIPTIVE BOOKLET.
G. P. PUTNAM'S SONS,
24, Bedford Street, W.C.2
HAVE YOU A
TALENT FOR
DRAWING?
Are you wasting that talent ? Wouldn't
you- like to draw Fashions for which
there is an ever-increasing demand ?
Others are making money by drawing
fashions. As long as you like to dr.°.w,
why not develop your talent profitably
and give yourself a chance to make
good in the work you like ?
FASHION DRAWING
IS THE BEST PAYING
ART WORK OF TO-DAY.
It docs not require years of hard
study »uch as other branches of
art before you realise any com-
pensation. Providing you have
the correct training, you can soon
learn in your spare time at home
to draw fashions that are in
urgent demand.
The Associated Fashion Artists,
comprising tome of London's lead-
ing fashion artists, give thorough
tuition by post in this lucrative
art work and assist students to
sell their drawings as soon as they
are proficient.
Write to-dav for the han.lsorue
booklet, " The Art of Drawing
Charming Women,'' to —
The Principal, Stndio 130.
Associated Fashion Artists,
II. N«w Court. Lincoln'! Inn. W.C.2.
60
Pictures and Picture Ooer
SEPTEMBER 1922
LET GEORGE DO IT.
(C« HtifiutJ from Ptxgt j6\)
Patience (Hull). -That's my middle
name, (r) Both in their early twenties.
W. A. Freshman is an Australian.
(2) Nothing available. (3) Mahlon
Hamilton has The Truant Husband,
The Lane That Has No Turning, and
The Green Temptation still to be
released. Not until next year, though.
Letters safely forwarded.
H. L. (Australia).-— (1) Milton Sills
in The Savage Woman ; Conway Tearle
in The Reason Why and The Common
Law. (2) Jack Dougherty opposite
Alice Lake in The Greater Claim ;
Carol Holloway in Two Moons ; and
Ruth Golden in Blue Streak McCoy.
Baile-ata-Cuat (Dublin). — Wants
to know whether it is absolutely
necessary for a chap to have a dark
complexion and a strong chin to
make good >n the films. The answer's
Ben Turpin. It isn't a matter of chin
or skin ; personality and ability come
first, good looks and good luck count,
too ; but there's very little room in
the kinema world just now. (1) Born
1901. Work it out. (2) Doesn't state.
(3) In The Tell-Tale Step. (4) Shirley
Mason's films are The Winning Girl,
Awakening of Ruth, Treasure Island,
Her Elephant Man, Mollvand I, Merely
Mary Ann, The Little Wanderer, Love-
time, and The Lamplighter. (5) Love's
Harvest was released August, 1921.
Shirley Mason works at Fox Western
Studios, 1401, North-western Avenue,
Los Angeles, Cal. (6) Write the Studios,
enclosing about is. (more if you want
a very large picture). " Motion-Picture
Studio," price 5d. post free, from
Odham's Press, Long Acre, London,
W.C., contains all you want.
H. C. B. (Wood Green).— You'll
find all that in the interview with her
in the September Picturegoer. (2)
Yes, the family name of the Gish'-s is
de Guiche. (3) The late Clarine Sey-
mour was born in 1901, in New York ;
commenced film work in 191 7 in The
Double Cross, a Mollie King serial.
Played also in Rolin comedies, and
in The Girl Who Stayed at Home,
True Heart Susie, Scarlet Days, and
The Idol Dancer. She was working in
' Way Down Hast ; but died suddenly
after an operation on Sunday, April 25,
1920. Mary Hay played her part in
the completed film. Clarine was dark-
eyed and dark - haired. (1) 191 6 ;
(2) 1914 ; (3) 1918 ; (4) 1920 ; (5) 1920 ;
(o) hj2o. Nothing doing this time, so
your hope is realised.
F. W. S. (Stamford Brook).— It is
lovely weather ; but only for amphi-
bians. (2) Jack Kerrigan has been
known to whistle on occasions. Don't
know if he " touches wood," though.
(3) Gloria Hope is a Pittsburg girl,
born in 1901 ; blue eyes and auburn
hair. Her films are Naughty, Naughty,
Heart of Rachael, The Day She Paid,
Gay Lord Quex, Too Much Johnson,
Dangerous Hero, The Untamed, and
The Texan. She's in a Sol Lesser pro-
duction, titled Trouble, at present.
(4) Consists of brickbats, which I
have stacked up behind my chair for
disposal later. (5) Juanita Hansen is
on a vaudeville tour. More another
time.
Tarzanite (W.i). — Your plea has
been granted. Watch the Who's
Where column for news of your
favourite players.
Novello-ite (Ireland). — (1) I'm
sure he would ; he always does.
(2) E. K. Lincoln in Desert Gold.
(3) Co. this journal will find him.
Don't forget the plain stamped en-
velope. (4} Can't risk another one
yet.
RESULT OF MOVIE LETTERS COMPETITION No. 2.
HPHE result of the second Movie
I Letters Competition, an-
nounced in the July issue of
Pictures," resulted in a tie between
three competitors, each of whom
made four mistakes. The first prize has
therefore been increased to £2 5s., and
divided equally amongst the following :
Miss Violet E. Knight, 4, St. George's
Place, Brighton ; Miss C. H. Rae,
18, Devonshire Road, Aberdeen ; Miss
N. M. Thomson, Windsor Cottage,
Braemar Road, Scotland.
Consolation prizes have also been
awarded to the following competitors
who had five and six mistakes each :
Miss Greenyer, Edzell, New Church
Road, Hove, Sussex ; Miss B. Hughes-
den, 45, Creedon Road, Bermondsey,
S.E.16 ; Miss Maisie Linton, 15,
Queen's Hill, Newport, Mon. ; Miss
M. Mangan, 45, Hilberry Avenue,
Tue Brook, Liverpool ; Miss Catherine
Sexton, 34, Flthruda Road, Hither
Green, Lewisham, S.F.13 ; Miss Mar-
gery Sexton, 34, Flthruda Road,
Lewisham, S.F.13.
The correct solutions are as follows :
(0
Dear Sadie Love,
Have you heard of The Amazing
Quest of Mr. Ernest Bliss ? He has
been In Pursuit of Pamela, and An
Amazing Courtship followed. How-
ever, she is now His Official Fiancee,
so she cannot be called A Woman of
No Importance any longer, because
she is The Woman He Chose. I
expect it was The Call of Youth,
don't you ? We call them The Per-
sistent Lovers. Of course she is The
Woman of His Dreams and he the
Wonder Man — anyway, she will excel
as A Sportsman's Wife, even if she
turns out to be A Temperamental
Wife. Still, I really think he is The
Best Man for her.
What is your Husband Doing now ?
Perhaps he could come along with
us to the Carnival.
I received Mrs. Temple's Telegram
this morning, so it's all fixed up that
Eliza Comes to Stay. I very much
want her to see The Little Cafe while
she is with us. We take Possession
of The Old Nest next week, but don't
come and visit us until we have
The Sign on the Door !
Always your friend,
Kipps.
(2)
Dear Captain Dieppe,
1 should love to have The Diamond
Necklace, so you may Go and Get It,
or would you prefer to Leave It to Me
to do so ?
I met Lord and Lady Algy the other
day. They are still Happy Though
Married. As for The Gay Lord Quex,
1 suppose he can never combine
Dollars and Sense, although 1 am always
reminding him of the old proverb
about A Fool and His Money — / He
answers that being Guilty of Love is
all The Sin that Was His. Evidently
he has been studying The A B C of
Love, or else attending The Charm
School. Of course you would call
him The Sentimental Bloke, or The
Mischief Man. In spite of what he
says, I am afraid if he ever does marry
it will be for His Wife's Money, and
nothing else. Which reminds me
that The Tattlers are still discussing
The Loudwater Mystery, but I suppose
that will always remain Lady Audley's
Secret. Personally, I think he is still
feeling sore about The Prince and
Betty.
Well, my Knight Errant, and have
you had any more opportunities for
rescuing A Damsel in Distress ?
Yours, with good wishes,
Pollvanna.
POURNYILLECocoa
ll 8EE THE NAME (adbUfy
Made under
Ideal
conditions
ON EVERY PIECE OP CHOCOLATE.
SEPTEMBER 1922
Pictures and PicfureOoer
61
WHAT EVERY PARENT SHOULD
KNOW.
" \/\T"'l>' didn't I learn when I was
VV young ? " That is a very
human regret that exists in most of
us when we look back at our childhood
davs and realise how we neglected the
study of music, drawing, sport, or
other acquirements that the assimila-
tive mind of youth can practise with
comparative ease. With later years,
responsibilities and lack of time and
opportunity to concentrate prevent
the lost ground of earlier daws being
regained. There are many parents
who will be reproached by their chil-
dren when they grow up if they do
not seriously consider the claims of
an extraordinary new discovery con
cerning the fostering of attractive
appearance in children that will result
in the hall-mark of good looks in later
years. This innovation concerns the
treatment of children's hair in such
a manner that the straightest hair is
trained to become1 naturally wavy
Known as the Xestol Treatment,
the process, which consists of a simple
harmless application of specially pre-
pared cream and water to the roots,
produces curly hair that will exist
through life. Naturally wavy hair
is grown on the head of a child,
although it may grow straight out
of the scalp. The Xestol Treatment
can be started when the child is under
one year of age, and later distinct
waves in the hair will naturally form
and remain curly. C. Nestle and Co.,
Ltd., will send post free on applica-
tion an illustrated booklet from 48,
South Molton Street, London, or
43, Dover Street, Piccadilly, W.
ARE YOU SENSITIVE IN SOCIETY ?
I fashion in these days that decrees
that shapely ankles, arms and
shoulders should be accentuated by
the design of stylish gowns is unkind
to those who are inclined to stoutness.
Thick ankles and a double chin can
do much to make sensitive members
of the fair sex very mentally distressed
when in society, for no dressmaker
can hide such disabilities.
There is a new invention, known as
Rodiod," that is bringing relief
to ladies all over the country by
reducing superfluous tissue and con-
verting the figure back to the attrac-
tive curves intended by Nature. Un-
like many treatments of this descrip-
tion, the Rodiod Salons in Bond
j Street place the fruits of their dis-
coveries within the reach of all.
, fat-removing cream is supplied in
jars at live shillings, or double si/.e,
nine shillings, post free.
At the Rodiod Salons, 5, New Bond
Street, there are many convinc-
ing testimonials from those who have
reduced their weight through this
treatment, and in most cases a decided
improvement has been secured after
the use of only one jar.
SMALL ADVERTISEMENTS.
Sd per word
M inimum \ Shilling*
CTAMM1 KIN'
O tree..
i .> n 1 -■ ; 1 ' 1—- ! < lire. 1'artii (liars
L. Uiirtuu, -T 1 I'' -vi mi ■. St. Annus,
IJIlOTl) Postcards of yourself i t< . : liy m.
Enlargements, bid. any Photo. Catalogue,
imple Free, l-Iackett's, Inly Road, Liverp
/*2O00 worth <>f cheap photographic material ; -.mi
A.' pics and catalogue face.- Hackett's Works, luly
|<<,ad, Liverpool.
1)KA1. Hani? Homespuns, direct fioni Makers;
\ best quality only : patterns free Harris Tweed
1 1. riOl |anies Street, Storm iw ly.
(J JAMMKUINC 1 1 ' K 1.1 >, ... no charge. Par-
.' liculars 'Frank Hughes, 7, Southampton
U..W, London
• K'i HTSS1' VI , -' -. nd. --1 garments
}7s. 'id. Eav Payments . lii
[I \ , „.,, I. ttcnhall K.i.hI, N. n.
smal'cr set.
1 -, s. 'id. Easi Payments ; list, stamp. Marie
\ CCOl'CHKMENT. Maternity Nurse, (Mil.,
. \ offers <omt»irtalile hr.mi to lady; retired position
facing sea; «trictl> private; medical refs. ; moderate
terms. Nurse, Crcssington, Wesl Shore, Llandudno.
\\r>l\ STAMMER All ranks of Society, from
\ \ Pukr i" Dustman, have praised my treatment.
\ v pagi booklet "ill In- sent free t" all those seeking
gi iiuin.' 1 urc w. Lee VVareing, " Glcndeue," Anchors-
holme, in-. 11 HI. 1. kpool.
HOME CINEMAS; Films Gigantic Bargains; Lists
Free. I. General, 114, Fertdea Road, 15a] ham.
I\I)II-'S, iln your own Hemstitching .mil I'icoting.
- Attachment tits any machine ; 8/- only. Agents
wanted. — J.c\vis, 1?. Wicklow Street, King's Cross.
London.
" piCTURKS AT HOMK." Machine and I1I111 lists
i inc. l'i. mil's, 100, Kcnlor Road, Tooting.
HVNDSOME MEN an slightly sunburnt. " Sun-
l.iu " gives this tint ; genuine, undetectable. —
send l'.tt 2/ E. Worth and Co., 25, Westmoreland
Road, Hayswater, London, W.2.
/* V". 4 1 00, £500 salary fur certified bookkeepers ;
Aj postal tuition, 8/- monthly ; success guaranteed
two exams. ; prospectus free. City Correspondence
College (Dept. to), 89, New Oxford Street, London,
W.C.i.
AN ARTISTIC (ilKL can earn good money
ski-ti hing frocks. Chas. E. Dawson's Sparc-
time Home Studv Fashion Drawing Course trains
Beginners. Reduced fees for promising applicants.
Send small sketch lor Free criticism and particulars.
P.C.C., Ltd., 5;. JScrnrrs Street, Oxford Street, VV.i.
I BARN to write Articles and Stories; earn while
-» learning. Booklet free.. - Regent Institute,
tjT. Victoria Street, S.W.i.
A 1'OSTiARD will bring you price-list and easy
terms for Watches, Rings, Cycles, Suits, Rain-
coats, Boots, Baby Cars, Cutlery, etc., from 3/ monthly.
Send a postcard to Masters, Ltd., So, Hope Stores Rye.
KINEMASTARS' P1CTURT POSTCARDS. Sixty,
all different as selected by us, for only Three Shill-
ings post free. These are penny cards and marvellous
value.- " Pictures," Ltd., 88 Long Acre, London,
W.C.2
HOW TO BECOME A FILM ARTISTE" is the
best guide to those desirious of playing for the
films, price 2/3 post frcr , from "Pictures" Salon,
88, Long Acre, London, W.C.i.
DOLLS FOR YOUR LITTLE ONES. Little Jackie
Coogan, the film favourite, price i/t. "Pictures,"
Ltd., 88. Long Acre, London, W.C.2.
HOW TO MAKE MONEY by writing for the films.
"Cinema plays: How to write and sell them,"
tells you how to succeed in this lucrative work. Rrice 3/0
Cist free from "Pictures" Salon. 88, Long Acre,
0111I011. W.C.2.
AN IDEAL PRESENT for your boy or girl is one of
our "My Film'' FavouHtes " Albums, specially
designed for collectors of picture postcards of Kinema
Stais. Prices: 1/6 to hold r30 cards, 2/- to hold 200. and
3/- to hold 300: beautifully bound. -" Pictures," Ltd.,
8S, Long Acre, London, W.C.2.
FOR
PICTURES 1
PICTUREGOERS.i
I Our BARGAIN PACKET or PICTURE |
I POSTCARDS of FILM FAVOURITES. |
| Contain, 60 "H different. •» selected br us.
Price THREE SHILLINGS Post Free
MARY PICKFORD
§ Beautiful portrait of this world-wide favourite, 2
Sprinted in brown on art paper, -i" 25 ins by 21 =
I ms. Ideal foi framing. Securelj packed and 2
= post free for 1/., Art study ol Mary, size 1. ins. =
= by isj ins , printed in two ■ olours on pl.ite-sunk =
= mount with autograph post free foi 4 6
1 PICTURES ALBUMS of Kinema Stars I
= No. 1 contains Mary I'ickford, Anita Stewart,;
= Norma lalmadge, Alice Brady, Madge I. vans, |
= Edith Storey, Ann Pennington, Ora < arew.
= No. 2 contains — Douglas Fairbanks, liMiigf
S < illuming-.. Marshall Neil.in, Warren Kerrigan. =
§ Ralph Kellard, 1-;. K 1 itn-olii, Antonio Moreno. -:
|.„ k Pi.ki.,,.1.
= Reproduced in the popular blown photogravmc =
§ style from the I ale-: photographs Size of portrait :
= 8 inches b) 0 ini lies.
= I'm i- 1/. each set or the two complete for 1/6:
g post free.
j'*THE PICTUREGOER Portfolio ofj
| Kinema Celebrities
1 Contains the following SIXTEEN Magnificent:
= Photogravure Portraits:
Size to inches by 6\ inches.
= Norma Talmadjp', Mary Pickford, Naziniova, i
= IV.nl White. Douglas Fairbanks, Const, mi r ;
= lalmadge, Ralph Graves, Charles Chaplin, |
= Pauline Frederick, M..r> .Miles M inter, Lillian;
EGisri, Thomas Mcighan, William S. Hart.:
= Richard Barthelnicss, Jackie Coogan, William [
Farnum.
| Atl voilk framing. Price I/., o, fiost f>,:- 1/2. !
I Price ONE SHILLINC AND TWOPENCE, pott free;
CIXTEEN BEAUTIFUL PHOTOGRAVURE Por-
» ' trails of the most popular Film Favourites,
si/.- ol i ai h portrait, to ins. by 6 ins., and every one
worths' of a frame. Price, complete in handsome
Portfolio, is. i<\. post free. — " Pictures," Ltd., 88, Long
Acre, W.C.2.
I^VERV HOME should have a Portrait of Mary
1 > I'ickford. Handsome study of tins charming
player, printed in I r< wri ink on ai i paper, si?.- .- s ins. by
2t ins., sent post (tec for ts. \rt portrait, size 19 ins. by
1 s,J ins., printed in two colours on plate sunk 11
with Mary's autograph, priic |s r„| post free.- " Pir
tures " Salon, R8 Long \cre, London, W.C'.j.
1 PICTURE POSTCARDS. !
5 H.ind-roloured Photogravures of all tl»- popularS
= screen lavoui ites : —
= Marv I'ickford, Charlie Chaplin, Douglass
= Fairbanks, \\ S. Hart, Norma and Constances
| lalmadge, Pearl White, Sievsart Rome, Violet!
I Hnpson, Ivy (lose, Tom Mix. Dorothy (iish.|
= Lillian Ciisb, William Farnum, Elsie Ferguson, 5
= Sessiie Hayakawa, P.'ggv Hyland. Thomas =
I Meighan, Mary .\lilcs Mintcr, Wallace R<'id.|
% Elmo Lincoln, Charles Ray, Antonio Moreno, =
= Owen Narcs, Na*imova, Rlary Odette, F.ddieS
\ Polo, /oe Rac, Francis Carpenter, George Walsh, =
§ Anita Stewart, and hundreds of itthers.
= Price 2d. each, postage extra, or any 12 for 2 • =
post fill.
I SEND A CARD FOR OUR FREE COMPLETE LIST I
OF KINEMA NOVELTIES.
1' PICTURES, LtcC
1 88, Long Acre, London, W.C .2 I
nllllllllllllllllMIIIIIIIIIIIIIIIIIIIIIIIIIHIIIIIIIIIIIIIIIIIIIIlMllllllllllllllllllllllllllllUirn
62
Pictures and Pict\jreOoer
SEPTEMBER IM2
I DO not know if people on your
side are aware that courses in
photoplay composition and motion
picture production are offered now
in some of the
A Letter from American Univer-
America. si ties. I have
been attending the
courses in photoplay composition
at Columbia University here, and
we have had some interesting and
unusual experiences. Besides our
usual classes, special lectures, visits
to studios, etc., are arranged for
the students, and some of these
have been both instructive and
amusing. We have had lectures
from Mr. Rupert Hughes ; Mr. Julian
Johnson, Production Manager for
Famous-Players- Lasky; Mr. Dunning,
Vice-President of Prizma Films ;
Mr. Berne, Scenario Editor for
Goldwyn, etc. Mr. Brennan, one of
the Fox Film Company's directors,
lectured to us one evening, and was
accompanied rather unexpectedly
by Mr, William Farnum. All these
big people in the motion picture
world proved to be very approach-
able, and when the lecture proper
was over the class gathered round
and had a friendly talk. Mr. Bren-
nan kindly invited the students to
the Fox Film studios while A Stage
Romance, with Mr. Farnum, was being
filmed, and those members of the
class who could spare the time were
dressed and went on the set asextras.
"The students were the guests of
Mr. Thomas [nee at the Gotham
Theatre one evening to see his
picture, Hail the Woman. " Mr. Ince
made a personal appearance that
evening, and the members of the class
were presented to him. Mr. I). W.
Griffith also invited the class to see
Or plums of the Storm.
' The students are not high-brow
01 ultra literary in anv wav. Thev
are an interesting company of people
of mixed nationalities who are eager
to find a place in the motion picture
• business. There isn't a grouch
among them, and they cherish their
varied and ever-growing collections
of polite rejection slips with cheerful
humour and, I might almost say,
friendly rivalry." — A. C. W. (New
York.)
I AM always pleased to receive
suggestions for the improve-
ment of THE PICTUREGOER,
and a letter just to hand from
" Three Film
Improving the Enthusiasts " de-
Picturegoer. ' ' serves special men-
tion. My corre-
spondents plead for the insertion
of the " Picturegoers' Guide " as a
separate feature, and, starting with
the October issue, their request will
be granted. They also suggest that
a page of pictures from current
releases should be included in each
issue, and ask for a pot-pourri page
showing artistes at work and play.
What do you think ?
" T SHOULD like to say that I en-
-1 tirely disagree with ' Picture-
goer, Battersea,' in regard to costume
films. I think that they are quite
as effective on the
More Costume screen as modern
Films Wanted, dramas. The dif-
ferent dresses and
manners are such a change from
the ordinary films which we are
always seeing. 1 think that quite
a large number of good costume
films have been produced, not only
' a few exceptions.' Many of them
are excellent British productions.
For instance : The Call of the Road,
The Elusive Pimpernel, The Amateur
Gentleman, The Tavern Knight, A
Gentleman of Trance, and others
which I could mention. The Ameri-
cans have also produced some good
ones, such as The Three Musketeers ;
but I think in this respect we can
do better than America, as we have
the proper old-world surroundings
in this country. I say, let us have
more costume films." — Picture-Lover
(Surbiton.)
[" WOULD like to present a bou-
** quet to ' Film Fan, York,'
and to heave a brickbat at ' F. S.,
Folkestone,' I agree wholeheartedly
with ' Film Fan '
The Patrician regarding Elsie
of the Screen. Ferguson, and the
title ' Patrician
of the Screen ' suits her beautifully.
She always seems so aristocratic,
yet never starchy. In my opinion,
Pauline -Frederick, Katherine Mac-
donald, and the other statuesque
beauties never can compare with the
fair Elsie. Her beauty is hardly of
the dazzling type, but she possesses
a calm sweetness and a queenlv
dignity that all other actresses
seem to lack. She is a splendid
actress, too, for she never exaggerates,
but always seems so natural." —
J. C. (London, S.W.)
WITH reference to your voting
contest as to who is the
most beautiful screen actress, and
who the most handsome screen actor,
my opinion is that
We'll Leave it there is no ' most
at That. beautiful ' woman
and no ' most
handsome ' man ! There are too
many different types, all beautiful in
different ways, to make it possible
to draw a definite distinction. What
pleases one does not always please
another. I thought Elsie Ferguson
the most beautiful screen actress
when I first saw her ; but then I
saw Norma Talmadge, Ethel Clay-
ton, Irene Castle, 'Anita Stewart,
Pauline Frederick, Claire Windsor,
Ivy Duke, Anna Q. Nilsson, and a
host of others ; and now I don't
know whom I consider to be
the most beauti-
ful. It was the
same with the "•n
men. First it ?jl
was Tom Meig- m
nan, then Bill \
Russell, Conwav ^
IVarle, H. B. M
Warner, Jack JN
Holt, Wally Reid,
Give Brook, and so
on ad infinitum, so
long as new ' stars '
arise ! ". - P. T.
[Hampstead.)
OCTOBER 1922
Pict\jK2b and Picf\JKe$oer
Hey. Jimmy hand
Vac6 that tin-
You 're not
Family with
The goodness
Luxe appeals
family . . .
the only
a sweet
one in the
tooth, Son !
of
Mackintosh's Toffee de
to every member of the
and never ceases to appeal.
8°Qt
Sold loose by weight and in Baby
rOval Tint and Tall Tin. at 1/3
each. Junior Oval Tin* and Tall
" Tint at 2/6 each, and 4 lb. Tin*
<P A.i.
No other
will do —
it must be Anzora, the pure,
fragrant Vanishing Cream, so deli-
cately perfumed and so efficacious
in keeping the skin soft and white.
Note the new price. In neat 1 / Q
pots, from all leading Chemists I / \
and Stores, etc '
* Qu£l& of
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IKflyiSiTiY MAruMtl
' Restarts the
hloflttt i t
Childhood"
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Do you realise that a spoonful of QPersiT) stands
for the banishment of hours of hard wash-day toil?
What it takes you half-a-day to do with your bare hands,
^PersjT) will do for you in a bare hour. Cj^ersTT) contains oxygen
and other powerful but harmless properties which wash clothes
while you set about more agreeable work — or take a spell of rest.
Not those who do most work — but those who save most work,
are the best and wisest housewives to-day. Entrust to QPersil^'s
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It is perfectly simple to use, and not even overnight soaking
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be surprised and delighted with this new way of washing.
Spoonful of Persil
a Heap of Good!
Wl
Per 12- 11
JOSEPH CR.OSFIELD & SONS LTD
WA R R i NJ C TO N
uwiwuwiiM— ai ma i»ri
Pictures and P/cfureOoer
OCTOBER 1922
THE STUPENDOUS PICTURISATION OF WOMAN'S FAITH
THROUGHOUT THE AGES.
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OF THE PAST:
Hordes of Women Charge
Barebacked into Battle.
Imagine it ! Hundreds of women, as
the Amazons of old, riding bare-backed
into battle against a horde of mighty
men ! They lock in combat ; sword
clashes on sword ; shield on shield ;
and in the dust of flying hoofs you'll
see them struggling still -fighting the
first fight for the freedom of women.
You'll see something you've never seen
before in the great Amazonian battle
from " Man-Woman- — Marriage," the
drama-eternal, the supreme achieve-
ment of Allen Holubar.
AND OF THE FUTURE:
What Does It Hold
Millions of Women ?
for
The big problem of the preponder-
ance of women as an aftermath of the
war must be solved. There is a solution
in" Man- -Woman — Marriage." In the
days of the Amazons the woman chose
her mate. Men unfit to become fathers
were doomed to bachelorhood ; women
unfit to mother posterity were dis-
carded. Will the women of the future
demand marriage along these lines ?
A Mighty Drama of
Women's Hearts !
" MAN-WOMAN-MARRIAGE "
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A FIRST NATIONAL
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ATTRACTION.
Directed by ALLEN HOLUBAR and Featuring DOROTHY PHILLIPS
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ASK TO SEE IT AT YOUR FAVOURITE PICTURE HOUSE.
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OCTOBER 192?.
Pictures and Picture Ooer
Have you tried the improved PR I
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only preparation which does not irritate or inflame the skin. The new Pruh
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is absolutely
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To impart colour to pale cheeks and
(ORYX is the most marvellous toilet discovery for years. It is a greaseless cream which instantly
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moisture of the lips. Artistically applied, Coryx defies detection, even with the closest scrutiny once
used, no words are necessary to explain its marked superiority.
For the cheek*, you use Coryx Blonde (for 'air complexions)
L» j _ 1 Brune (for dark complexions)
ong, dark
Eyelashes
»Hi\ ll\N(l\(. PO YOU
PCBSPIRE TOO FKKKLY?
Just a dab of DEODEI. under
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prevents all perspiration odoui
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does not irritate the skin <'i
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the only deodorant thai in every
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Use " Eydolash " Cream
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In dainty ivor
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Of all ehemists, ladie^ hairdressers arui stores, or sent direct art
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WRIGHTS
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ricrvres ana H'icrsjreQoer
OCTOBER 1922
TWO CHARMING BLOUSES
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The M.R. Tricoline.
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Wc stock this in Ivory ground with any of the following coloured stripes: — Sky, Pink,
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Outsize
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orders. Cash refunded by re-
turn if goods arc not a /> proved.
Luvisca.
A beautiful lustrous blouse, smart and neat
in style. Will stand countless washings, and
still retain its lustre and freshness. Trimmed
'best quality pearl buttons. In numerous beautiful
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Women's Size ■ 7/11 Outsize- 8/11
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Any of the above garments can be
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Nightdre.. 9/3— O.S. I/- extra
Knickers 5/6- -O.S. 6d. extra
Camisole 3/1 1 O.S. 6d. extra
Chemise to Match 4/9 — „
A 22 Exquisite 2-piece set in good
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If you are troubled in any way about your
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How this can he done is shown in a
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This book tolls of the remarkable re-
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LIMITED NUMBER ONLY.
OCTOBER 1922
Pictures and Picture Qoer
m^m\
■&& TM\
CONTENTS:
FRONTISPIECE : Constance Talmadge 8
AN OCTOBER DIARY .... 9
MEMORIES OF LILLIAN G1SH - - 1<
Mary Pickford supplies some reminiscences,
"NANOOK OF THE NORTH" - - ft
All about the first E\ktme picture.
CATHERINE COMES TO TOWN - - 14
An interview with Catherine Calvert,
IBSEN ON THE SCREEN - 16
Nazimova in " A Doll's House."
FEATURING THE FAMOUS - 17
Some Might-have-been Movie Stars.
"WALLY," by Mrs. Wallace Reid - - 20
THEIR VERY OWN 22
Trade marks of famous film stars.
THE MOURNFUL MlRTHMAKER - 24
Buster Keaton the man who never smiles.
PICTUREGOER ART GALLERY - 26—30
Violet Hopson, Lon Chancy, Victor McLaglen, Mabel Ballin,
Hope Hampton.
A LA MOVIE MODE ... 31
FILM STARS AT HOME -
Ruth Roland.
L'ENFANT PRODIGE
H- <w Jackie Coogan spends his spare time.
MAN -WOMAN— MARRIAGE -
The story of the first National film.
PICTUREGOER PARODIES. ThedaBara
BRITISH STUDIO GOSSIP
AT THE REGENT, CHELMSFORD
MEET SENTIMENTAL TOMMY -
Oarcth Hughes chats about his work.
SHADOWLAND - 49—51
Screen gosstp of the month
I.!. *5k
Pictures and Picture Over
OCTOBER 1922
CONSTANCE TALMADGE
Who is touring England with her sister Norma,
making personal appearances in our biggest cities.
Slic is just twenty-two, </»</ the screen's cleverest
light comedienne.
OCTOBER 192?
Pictures and P/cfurepoer
" - PICTURE-S AND
THE PIGTUREGOER
TH
SC R E-E- N
M ACAZ I NE-
VOL. 4
NO. 22. OCTOBER 1922
LJilorial Offices:
93, Long Acre, London.
Hegislcred for Transmission
by Canadian Magazine post.
Aw
October
ON Saturday, the first of October.
1900, that popular musical
comedy, " I he Belle of New
York, was playing at the
Grand Opera House, Augusta.
in Georgia. The cast was a
good one, and critics said that the
chorus was a thing of beauty and a joy
for ever. Well they might, for amongst
those present in the chorus was a star-
to-be named Elsie Ferguson.
A NOTHER Grand Opera House (that
* *■ at Nashville, Tennessee) became
associated with movie history a year
later. i he juvenile leading man at the
theatre in October 1901 was a handsome
youngster named Thomas Meighan,
and the stage director was J. Gordon
cdwards. the famous producer of " The
Queen of Sheba " and other screen
OCTOBER BIRTHDAYS.
*
2 - - - Ethel Grey Terry
4 - - Irving Cummings
■8 Hotel Daly
9 - - Jsuru Aoki
10 - - - Constance Worth
11 - ■ - Eille Norwood
13 - - - - - Irene Rich
14 .... • Lillian dish
IS Doris May
25 Eddie Barry
2b - ,- Buddy Messenger
26 ■ - Jackie Coogan
31 ■ • - - Margery Wilson
31 Arthur Housman
successes.
C\N the thirteenth of October, 1910, Eileen Percy was a member of the
^-^ children s cast of "The Blue Bird,' then playing at the New
1 heatre, New York. On «|Lat day in October, three years later, Mae
Murray scored a hit as " Eleanor Winton " in "Such a Little Queen," at
the New York Liberty Theatre.
I HERE wa=> an important addition to the cast of " Our Bachelors " at
the Fifth Avenue Theatre on Monday, October 17, 1881, when a
promising young man made his first appearance on the New York stage.
His name was Theodore Roberts, but Lhistory does not record if a cigar
was included in his make-up.
jr you had chanced to visit Cody, Wyoming, in the October of 1909,
and had stayed at a certain hotel, owned by a sister of the famous
Colonel Cody, you would be able to say to-day : " Wallace Reid ? Why,
l knew him when he was just a simple hotel clerk in Wyoming ! "
OCTOBER 1922
Pictures and PictureOoeK
Memories of
Lillian Gish
All the world knows Lillian Gish the artiste, but of Lillian
Gish the woman, it knows little. In this interview, Mary
Pickford tells of her friend Lillian, as no one else could.
Lillian Gish in •>
Broken Blossoms."
illian's main qualities are
her sincerity and loyalty."
Mary Pickford, sitting there
in the golden afternoon be-
side placid Lake Chatsworth,
was opening the book
of the past, that I
might read the pages of
one of the most beautiful
friendships on record. Years ago Mary
and Lillian G.sh met, when Mary was
six and Lillian a year or two younger,
children who laboured before their
time, knowing poverty, knowing failure.
To-day they stand, both successful,
both women who have won the love
and respect of the world. And they
are still friends. They have never had
a quarrel. ' Yes, I know Lillian is
very fond of me, and I treasure her
affection.
When we were small, Dorothy,
Lottie, and I used to play together with
Lillian acting as a sort of Little" Lady
Mother to us scatter-brained young-
sters. She was always correct, always
just so. We used to stand and watch
her, fearful any moment that she
would fly to heaven — for mother had
said she was too angelic to live !
Dorothy and I were pals then, but
now Lillian and I have more in com-
mon. Though, to be sure, Dorothy is
much more serious and has a keener
brain than she is given credit for —
this frivolity of hers I think is a surface
coating that hides the real Dorothy.
" Our first meeting was a casual one,
in Detroit, when I was playing in ' The
Little Red Schoolhouse,' a play written
by Hal Reid, Wallace Reid's father.
Mother had insisted that I couldn't
go with the show alone, so they had
given parts to her and to Lottie. Jack,
of course, was a baby. Later, at
Toronto, Lillian took my place, playing
the role I had created. But it was when
we were all in New York that we really
became friends. I had been called
there to replace Lillian in ' The Child
Wife,' as she had been offered a better
part in another play. My mother had
received a lucrative offer to go on the
road, one that she couldn't afford to
refuse, so Mrs. Gish offered to take care
of us children. Imagine having the
three of us to look after, in addition to
her own two ! She was very patient
and lovely to us, making our clothes
and washing our ears ! One of my
happiest memories is of those few
months at Mrs. Gish's house in New
York. It was my first experience in
the big city, and I envied Lillian her
aplomb — with Mrs. Gish at one end
and Lillian at the other, we would
cross the crowded streets, all six of us
holding hands, for fear one would get
ji!l
lost ! Yes, Lillian is very remote.
Even I who have known her since
childhood admit I am baffled at times.
She is very elusive. Often I have an
intangible feeling that I haven't quite
grasped her. She is remarkably subtle
and fine in sensitiveness of thought."
" She is so frail to have endured
those years of hardships," I suggested,
alternating with Mary in petting Zorro,
her time-clock dog who howls regularly
at quitting time, twelve-thirty and
four-thirty every day. " So — ethereal.
That is the impression she gives every-
one."
" And it isn't so ! " Mary exclaimed,
a gleam in her hazel eyes. " Lillian is
very slim, but she has an amazing
endurance. Mr. Griffith works his
people very hard, exacts every par-
ticle of self that they have to give to
their work. Had Lillian been as frail
as she seems, she could never have
lived through these nine years of
constant nerve-racking work. In
making the ice-scenes for Way Down
East, she had to remain on that cake
of ice near the rapids until actually
numb."
For a moment Mary was silent
except for the tremulous quivering of
her chin — a little way she has when
very excited. Always tranquil, having
schooled herself through the years to
OCTOBER 1922
Pictures and PictureOoer
11
absolute control, you can always gauge
Mary's emotions now by that little,
almost invisible quiver of her chin.
" Frail looking, yes. Her skin is
milk-white, almost translucent, that
finely veined kind, delicate as a
petal. But beneath her seeming
fragility is a steel-like quality. Some-
thing vibrant, something " — a frown
puckered over the hazel eyes as Mary
groped for the right word — " almost
brittle. Something that forces her to
do things that she shrinks from. The
closet scene in Broken Blossoms, for
instance. She told me the last time I
saw her in New York that she suffered
real agony during that scene. She
never acts ; her art is in her complete
A camera -portrait of Lillian Gish
forgetfulness of self. Having once
schooled herself to portray a character,
she becomes that character. It. is
another evidence of that remote,
subtle quality she has of living some-
how in a sphere of her own.
" We both learned early in life its
greatest lesson : that the face with
the smile wins. In the agencies, look-
ing for work, you know. Despondency
would get us nothing. Shrewdly we
learned the value of putting our best
foot forward. Dressed in stiff, starchy
white, our hair carefully brushed, we
would march with dignity into an
office and inform the startled theatri-
cal agent that we might possibly
decide to act for him ! And we
that reveals the soul of the artiste.
managed to get our entertainment
free. J remember once we presented
our cards at the box office of ;i
theatre, as members of the profession
demanding seats. ' All right,' said
the man, ' but you'.ll have to give
ten cents each to the Actors' Fund.'
We didn't have the money, but gave
our word that we would give it to him
later, and he let us in. Every week
thereafter Lillian, who worried over
it terribly, would march us in with
the pennies we had managed to save,
until the debt was paid."
Once more that vibrant silence,
which I broke with a hesitant question.
" Will Lillian ever marry ? " Mary
repeated. " Honestly, I don't know.
It would have to be a very great love
to take her away from
her mother and her
work. Lillian's love for
her mother is one of
the most beautiful I
have ever seen. It is
much more than the
ordinary sentiment one
finds in children — it is
fairly a worship. In the
early days she used
to say to me : ' Oh,
Mary, if I only could
make good in a big
way, so that I could
make mother proud of
me ! ' Just now her
work and her mother
hold her complete allegi-
ance. It would have to
be a very great love, not
an incidental thing, but
her entire universe.
" Lillian would have
succeeded in any pro-
fession because she has
will - power, a dogged
quality of sticking to
a thing. And she has
tenderness and under-
standing of human
nature."
The sun was slanting
beyond the hill. Zorro
howled. Time to go.
" When you read this
tinsel they write of
Lillian, of how she
makes one think of
violin notes and moon-
light and lilies, try to
reail deeper and see the
real girl, will you ? All
that is surface. Beneath
it is a brilliant mind,
an almost old-ladyish
reserve, and, above all,
sympathy. Xot mawk-
ish sentimentality.
Bather, a practical un-
derstanding of human-
ity and its frailness.
That's Lillian as I know
her."
And who could give
her better tribute than
this, from her lifelong
friend, Mary Pickford ;
Myk II I- Gubhart.
Pictures and Pict\jreQoer
OCTOBER 1922
«
\Jar\ook
oftke fNjQKiK"
The film story of " Nanook, " chief of the
Itivimutis tribe, has been hailed by the critics as
one of the most enthralling moving pictures
ever made. For stark realism, this Eskimo life-
story is stranger far than any fiction.
Nyla, the wije
o'J Nanook,
with one "/
their children.
The sunny South and the picturesque West have
been favoured with the attentions of the film
cameras to an extent which has literally left the
North and South out in the cold. For the
Arctic and Antarctic wastes are not ideal loca-
tions for modern picture-plays, apart from such
materialistic considerations as the avoidance ol
fostering unbecoming blue noses amongst artistes
playing in a temperature a good many degrees
below /.ero.
Nanook of the North, the new Screen picture that reflects
an enthralling story of life and love in the actual Arctic,
is, therefore, something of an inspiration. Its producer,
Robert J. Flaherty, has struck just the right note which
enables the frozen North very effectively to deserve the
distinction of being raised to the dignity of presenting an
impressive background for a photoplay.
The producer adopted the ingenious expedient of
trekking across the Arctic snows and casting his characters
as he discovered them around the walrus - fishing grounds
or in ice " igloo " shelters eight hundred miles north of
civilisation's most northerly outposts.
Each of the characters starring in Nanook of the North
is an Eskimo, recruited from the small tribe of this quaint
people who inhabit the Ungava Peninsula, one of the
regions least accessible to white men on the North
American continent.
In order to play before the " wonder boxes " of the
white men. as the Eskimos regarded the film cameras,
Nanook, the " star " in the picture, temporarily forsook
his hunting grounds; whilst his wife, who acted as his
leading lady, attired her offspring in their best fur clothes,
ami drove them to and from the snow-bound " exteriors
in primitive dog sledges.
Nanook, the hero of the story who is chief of the
famous " Itivimutis" tribe, and renowned as a hunter
throughout Ungava his wife and his three plump, fur-
OCTOBER 1922
Pictures and PictureOoer
13
protected children, constitute the en-
tire cast ; whilst the picturesque snows
of the North provided natural set-
tingswhich proved as inexpensive as the
primitive " wardrobe " of the " stars."
Nanook of the North provides a novel
deviation from the more conventional
rut of picture-plav productions. It
imbues the mysterious North, that has
taken a toll of the lives of brave men
who have sought to solve its secrets,
with a human touch that makes one
forget a little of its cruelties.
The storv reflects the primitive life
of the Eskimo, and it creates a certain
admiration for this uncivilised race.
For these nomadic people, who live on
the roof of the world, teach the white
man many lessons in patience, kind-
liness, and good temper. In spite of
the hardships of the Eskimo's life, and
its single purpose, the struggle for
food, the cameras show them smiling
cheerfully through the stinging snows,
and contentedly huddling under the
fur robes that constitute their beds.
Although Nanook, the picturesque
Eskimo enveloped in furs, has stepped
direct into " stardom," he is an un-
conventional screen hero. He fights
for " Nyla the Smiling One," not
against the more customary perse-
cutions of film villains, but with
nature in its cruellest moods.
Nanook may never star in another
film. But if he is not destined to be-
come a Fairbanks, he will always have
the consolation of knowing that his
primitive personality and struggle for
existence in the Northern wastes
contained sufficient of the elements
of sentiment and drama to create a
screen play, without enlisting the
customary subterfuges of the studios.
^S
Scenes from " Xanook of the North,"
the wonderful Art tie drama that reflects
the. lift ■<! the Eskimo in nil its thrilling
I he film :■ c/< made in an a; < i age
temperature <>/ is degrees be I on rro
PicKFFos and Hict\jreQoer
we
OCTOBER 1922"
A London interview with Catherine
Calvert, star of Dead Men Tell No Tales,
The Heart of Maryland, and other screen
successes, who is now playing in " Lawful
Larceny," at the Savoy Theatre.
\t is very rarely that you will
» meet a beautiful woman who,
I consciously or unconsciously,
is not striving to create an
" impression " on the person
who meets her. Catherine
Calvert's own particular type
^J^ of beauty being what her
fellow-countrymen would aptly
describe as " stunning," I prepared
myself, when I set out to interview
her before one of her matinees at
the Savoy Theatre, to be " stunned "
into a proper state of speechlessness.
I found her in her dressing-room
with her hair tied back in a towel,
covering her face with the greasy
foundation of a stage make-up.
Now, I would defy even Cleopatra
to look seductive in such a head-
dress, her perfect features luminous
with cold cream. But Miss Calvert
didn't seem to mind. On the con-
trary, she said she was very pleased
to meet rne, and would I take that
comfy chair and make myself at
home ?
Incidentally, I might add that
she is very beautiful, only I'm
reserving the usual Word-Picture
of a Famous Star till the end of my
story, where it rightly belongs. I
mention the towel and the cold
cream just by way of intimation
that " up-staginess " and " pose "
are two words with which Miss
Calvert had not even a dictionary
acquaintance.
She had only recently arrived in
Catherine
Calvert and
Tom Terriss,
producer of " The
Heart of Maryland."
England, so, in deference to time-
honoured convention, I started off
with the usual question, " And how
do you like our city ? "
" Now, that is nice of you ! " she
declared. " So many of them begin
right away with, ' Please tell me
something about yourself,' which
makes things so difficult, you know,
when you've been feeling a bit
scared of the ordeal before you, and
would much rather talk about the
weather. Well, of course, I'm just
crazy about this wonderful old, city
of yours. We Americans, for all our'
progress, only realise how much
we have missed when we come
over here. I've been kept so busy
at the theatre that I haven't had
much time to really look round as
yet. But I mean to stay here as
long as I possibly can (I hope to
make it a year), for I want to get
thoroughly acclimatised — in short,
to absorb the London atmosphere.
Oh, yes ; I'm quite serious and
determined about it ; in fact, I
don't intend to go on staying in
hotels any longer than I can help,
but shall move out directly I have
managed to find a house to live in.
I want to get that settled feeling
of having a home. You're always a
bird of passage as long as you're
in an hotel."
All the same, she confessed that
she was charmed with her temporary
quarters on the fifth floor at
Claridge's. For one thing, she
OCTOBER 1922
Pictures and Pict\jre0oer
15
because I could see that she was
genuinely touched by the spirit in
which it was offered.
We talked a good deal about her
stage work -she comes to us fresh
from a very great personal triumph
in her own country, having achieved
a phenomenal success as " Donna
Sol " in Otis Skinner's New York
production of /Hood and Sand.
The role of the siren, T gathered,
was comparatively new to her, as
before " Blood and Sand " she had
explained, you had such a wonderful view over an
endless sea of London roofs, and there was sometliing
intriguing and mysterious about roofs which had
always appealed very strongly to her imagination.
"Not to mention," she added laughingly, "that it's
quite an exciting ex-
perience to see so many
roofs, when you've lived
most of1 your life in a
city of skyscrapers ! "
She was very warm
in her appreciation of the
English people.
I had always heard,"
she said, " that an Eng-
lish audience was so cold
and undemonstrative, but
the warmth of our recep-
tion on the first night
of the play quite took
my breath away. And
everybody I have met
has struck me as being
not only courteous, but
really kind and sincere."
And she went on to
tell me in this con-
nection that every night
when she arrived for
the performance, there
was a red rose on her
dressing-table— from the
stage-doorkeeper ! Now
stage-doorkeepers, as a
class, are disillusioned
men who have little use
for poetical sentiment,
and who are certainly
not in the habit of
giving away red roses. I
liked Miss Calvert all the
more, not only because she
had inspired such a pretty
act of homage, but
Above and right : Two
studies of Catherine
Calvert.
Below: On location with
Tom Terriss and Percy
Marmont for " Dead
Men Tell So Tales.1'
mostly appeared in parts
of the ingenue variety.
The sensation she had
caused in the new role
perplexed as much as it
delighted her.
" Nobody seemed to be
wildly interested in my
work," she said, with an
amused little smile, " as
long as I played sweet
young things. ' Donna
Sol ' helped to open my
eyes to the deplorable
{Contitrued on pngc j6.
Pictures and PictureOoer
OCTOBER 1922
Some studies of Nazitnova
as " Nora Helmer " in
" A Doll's House."
bsei\
vw t Ke Screer\
I "^' "JThen Ibsen's " A Doll's
\ \ / House " was first shown
\/ \J in this country, British
Y jf playgoers liked it not.
In those days the tradi-
happy ending," was the sine
qua non of theatrical success, and a
public that had been fed for years
on artificial drama viewed " A Doll's
House " with suspicion. They re-
garded it as an unnatural and an
unfinished production. Fancy a play-
that ended on a note of interroga-
tion ! It seemed absurd.
The " happy ending " tradition
still clings to stage and screen, but
audiences of to-day are more sophis-
ticated, and " A Doll's House " does
not startle them as it startled their
fathers and mothers. Therefore,
picturegoers will find Alia Nazi-
mova's film version of Ibsen's great
play a welcome change from the
sugar, sentiment and sensation that
go to the making of the average
picture-theatre programme.
A Doll's House " has been filmed
three times in the past. There was
a Triangle production in tgi6 ; a
Universal picture in 1917, featur-
ing Dorothy Phillips ; and a Famous-
Players Elsie Ferguson version,
produced in 191 8. The current
release of A Doll's House, produced
by Charles Bryant, is far and away
the best of them all. Nazimova as
" Nora Helmer," takes up the role
that won her fame on the speaking
stage ; and her performance ranks
with her very finest screen work.
The film version follows the stage-
play very closely .1 welcome relief
from the ordinary run of screen
adaptations where the original is
butchered by the scenario-writer to
make a movie-holiday. Had Charles
Bryant's production been on con-
ventional movie lines, we should have
had a " reconciliation " between hus-
band and wife in the last reel ; or
maybe the husband would have died
to make way for an understanding
and sympathetic lover. But all this we
are spared, and Nazimova's Doll's
House ends on the right note.
The producer has, it is true, taken
certain liberties with Ibsen, but these
make for the improvement of the film
version. The story of A Doll's House,
as told on the screen is the story of a
young wife who, after making a great
sacrifice to save her husband's life,
finds him unworthy of her love, and
decides to leave him.
Nazimova's portrayal of " Nora
Helmer " contains some delicious
touches, and is free from the acting
faults that mar some of her work.
Many of the emotional scenes are
magnificent, and the picture is light-
ened by bits of comedy that come as
a welcome relief to the general sadness
of the story.
The supporting cast is worthy of
the star. Alan Hale, who played once
upon a time in slapstick comedy,
but who has since proved himself a
great dramatic artiste, is seen in the
unsympathetic role of " Torvald Hel-
mer " ; Nigel De Brulier plays " Doctor
Rank " ; Elinor Oliver is " Anna,"
the nurse : Wedgwood N'owell por-
trays " Nils Krogstad " ; and others
in the cast are Clara Fee, Florenct
Fisher, Philippe De Lacy and Barbara
Maier.
OCTOBER 1922
Picture 5 and PictureQoer
17
" A 11 the world's a screen, and all
/I the men and women merely
I \ players," is a twentieth-
lS\ century adaptation of Shake-
I speare's philosophy that pos-
sesses more than an element
I 4 of truth. The men behind
m the topical film cameras
have made the interesting
discovery that there are many
public celebrities whom Nature
has endowed with the attributes
that are likely to make for suc-
cess in film acting.
A surprising number of popular
personages possess the film face, that
elusive gift of the gods that is given
in the form of facial contours and
light and shadow on the features to
those to whom the camera proves
exceeding kind. Should thrones totter
or Governments fall, there are many
august representatives of the monarchy
and political power who might have
an excellent chance of retrieving their
fallen fortunes through the medium
of the film producer's casting-book.
The Prince of Wales, who con-
tinually has to face a barrage of
topical film cameras, possesses a
charming screen personality. His very
friendly smile and unaffected manner
give him a naturalness on th,e screen
that fits him for an ideal film hero.
His well - cut
features, slim
figure and per-
fectly tailored
clothes combine
to make him
an attractive
addition to the
screen. And it
should be remembered that those who
pay the penalty of fame, and during
every public appearance are sur-
rounded by clicking film- cameras, are
screened under the most crude con-
ditions as compare dwith studio or-
ganisation. There are no brilliant
arc-la rnps to produce flattering effects,
no " make-up " to tone down imper-
fections or blemishes in the features,
or spectacular costumes to frame the
personality of their wearers.
Yet, despite this fact, you will
; seldom see the Prince of Wales on the
screen without admiring his good
looks, and feeling the influence of his
attractive personality which seems to
radiate from the silver sheet. He
may be filmed on board a battle-ship
in gloomy grey Atlantic weather, in
the half-light of railway stations, or
attired in State uniform, the spec-
tacular and ornate nature of which
would be likely to dwarf lesser per-
sonalities, but he is always the Prince
Charming of the screen. In some
moods in which the cameras reflect
him he is not dissimilar to Creighton
Hale, and his poise and naturalness
have something of the art of this
I clever actor.
There is little doubt that, although
(public men do not intentionally pose
| before the film cameras, they learn by
kxperience how to do justice to the
[Photo by Phntopress
Featuring tke Fan\uvis
s
i>. RUSSELL MdLLINStfN
Keen students of topical films realise
that many public celebrities might have
been potential screen stars had Fate
directed their steps to the movie studios.
This article on film personality discusses
the screen attributes of many people
famous in other spheres of life.
reflective art of the lens. In the
early days of topical film work, well-
known people, unused to the novelty
of being screened, glanced nervously
into the lens' fidgeted and looked
self-conscious, thereby breaking a
number of the cast-iron traditions of
the film studios. After a long ap-
prenticeship before the ubiquitous
eyes of the camera, those who are
consistently filmed in public seldom
appear awkward on the screen. They
smile past the camera in the correct
manner, and, in appearing to ignore
it, reveal a naturalness that tells the
picture-theatre audiences much con-
cerning the real personalities of pub-
lic men who, through the intimate
glimpses provided by the films, are
no longer mere figure-heads.
To see Lloyd George on the screen,
with his attractive smile and the
twinkle lurking in his eyes, is in-
stinctively to imagine what a kindly
film father he would make. There is
little to suggest the politician about
the screen personality of the Premier.
One can picture him giving parental
blessings to happy married couples,
and posing as the fairy godfather
who brings joyful surprises into the
lives of those less fortunate in their
possession of worldly goods.
Theodore Roberts, the most famous
of film fathers^ has a rival in
Downing Street, where the genial,
|L good-natured screen manner is
B concerned.
Like many other politicians,
Lloyd George places every facility
in the way of film camera-men.
For the days have passed when
the crude topical picture existed,
and threw on to the screen indis-
tinct and unflattering portraits of
public men. To-day the cameras
represent a valuable form of pub-
licity which those in high places
cannot ignore. An amusing in-
cident occurred not long ago,
when the Pathe Gazette camera-
men were filming the historic
meeting of the Peace representa-
tives at The Chequers. The ope-
rators were about to pack up
their cameras, when the Prime
Minister, with his winning
smile, interrupted, and sug-
gested that they should accom-
pany him and Marshal Foch
on a short walk to secure
some pictures of old Roman
ruins. The
camera-men
dragged their
heavy tripods
and cameras
across fields,
over stiles, up
hills aad
down valleys
until they were exhausted. They
then decided to give up the chase.
Thereupon Lloyd George, continuing,
on his way, turned with a broad smile,
and waved his hand. Until then the
camera-men did not realise that they
had been the victims of the Prime
Minister's well-developed love of prac-
tical joking.
Earl Grey is the politician who, on
the screen, suggests the mysteries of
political power and the intrigues
behind affairs of State. His thin,
somewhat cadaverous countenance,
which gazes at the camera with an
inscrutable expression, admirably fits
him for the role of the strong, silent
man beloved in film drama.
Surrounded by appropriate lighting
effects of the eerie order, and screened
amidst scenery that held an atmo-
sphere of mystery, he would dovetail
into dramatic situations \?ith realistic
effect.
Earl Balfour presents a scholarly,
learned appearance on the pictures
that would influence many producers
to cast him for the part of the kind-
hearted professor of the type that
the late H. B. Irving depicted in " The
Professor's Love Story." Admiral
Beatty, with his typically British face,
of the strong-man variety, and . the
inimitable angle at which he wears
his gold-braided hat, would bring
18
Pictures and Pict\jre$oer
OCTOBER 1922
Frank Moran, the American heavy-weight boxer,
is one of the few fighting-men who appear to regard
the lens of the camera with a kindly eye. He smiles
good-naturedly at the camera-men, and recently,
when he was filmed at a fancy-dress ball, he carried
out a droll mock boxing match with Sir Augustus
John, the artist. He is like a happy schoolboy, and
his combination of huge physique and cheerfulness
qualifies him for the role of the likeable strong man
of the screen who has Maciste's possibilities in the
direction of knocking down villains like ninepins in
the interests of a fair heroine.
It was J. Stuart Blackton who recently advanced
the interesting theory that people who are descended
from aristocratic stock, such as Lady Diana Duff
Cooper, whom he introduced to the screen, are born
film artistes. Whilst developing their personalities
and talents in the social world, he is of
the opinion that they are fostering the
Duke of York
photographs
splendidly .
Joe Beckett might have been
another Ritll Montana.
atmosphere to any stir-
ring screen sea story ;
whilst Sir Douglas Hatg,
as the typical country gen-
tleman, could bring dignity
to Society scenes in shadow
stories of modern life.
Although Carpentier has
figured as a romantic, hand-
some hero, in a recent film pro-
duction, there are not many of
the fistic persuasion who could
exploit their features in such direc-
tions. Joe Beckett, when the
cameras reflect him away from the
ring, glares at the lens with an air of
grimness that would provide an
excellent close-up of a screen-serial
villain, reflecting on fresh perse-
cutions for the next episode in the
life of a harassed heroine.
Jack Dempscy was successfully starred in
a serial.
very attributes that are
necessary in film acting.
Celebrities of the fair
, sex, however, are not
r"^ reflected by the film
cameras so effectively
as their menfolk. This
is probably due to
the very human
-ff-> reason that women
become uneasy when
they hear the click
of the camera, and
commence to make
speedy adjust-
ments of theii
toilet. Hence
they appear
awkward anc
unnatural on th(
screen. " Make
up," necessary ex
aggerations in dress
and special posinj
and mannerisms
are essential to thi
fair exponent o
acting art on th<
screen. Such arti
fices are, of course
entirely absen
when Society beau
ties or leadin:
ladies of the lan<
are filmed by th
men behind th
topical cameras
Megan Lloyi
George has an at
tractive film fact
but this is to som
extent due to th
fact that she ha
adopted her father
habit of smiling a
the cameras. 1
is an interestin
fact that when th
lens is turned o
to features th;
are devoid of tf
customary studio make-up, this disadvantage
far less noticeable if the person relaxes and smili
instead of keeping the facial muscles rigid.
There is a kindliness in the screen expression i
Queen Mary ; and in company with the youthf
Queen of the Belgians, she is probably one of tl
best camera " subjects " amongst the Europe?
Royal Houses.
Carpentier in "A Gipsy Cava-
lier " proves himself an excel-
lent leading man.
OCTOBER 1922
Pict\JKQ5 and Pict\jre$oer
19
Strangely enough, the topical film
cameras have proved that British
good looks are the best for screening.
When foreign visitors of note are
filmed in company with English cele-
brities this is very noticeable, for the
Britishers invariably present a more
attractive screen appearance and effort-
less air of confidence than those from
abroad.
Indirectly the topical camera-man
proves the assertion that the per-
sonality of a shadow-artiste radiates
from the screen. This is a trick of the
lens which, in some
subtle fashion, catches
the spirit of the real-life
character of a player,
and conveys it to an
audience.
Smiling " Bombar-
dier " Wells, when he
is caught by the cameras,
suggests all that likable
personality of his that
has endeared him to
the followers of boxing.
On the screen he looks
the clean type of sports-
man to whom Britishers
will always extend their
plaudits. It is more
than a cast of features
that creates this very
true appreciation of a
•man's likability when
he flashes on to a kinema
screen. There is some-
thing that vibrates a
human response in the
hearts of the spectators.
Invariably Queen Alexandra receives
an ovation from kinema audiences
when she is shown on the screen. Here,
again, her kindly personality seems
apparent, although she is only reflected
as a shadow embalmed in celluloid, and
generally she is heavily veiled.
Jack Dempsey who, in
company with
would ornament any
cast in the rdle of
a big-hearted, mus-
cular brother, who
protected his sisters
or weaker members
of the community
algainst bullyling
blackguards. Big
Jack not long ago
figured very success-
fully in a Pathe
film serial. Daredevil
Jack, in which he
Earl Haig (above) ,
and the Premier
(right), both radi-
ate personality in
their pictures.
Smiling Billy Wells has an intriguing screen
personality.
much to display on the world's
screen the elusive, kindly smile of Sir
James Barrie. Always a recluse, the
creator of " Peter Pan " was something of
a mystery to the
vast public who
admired his works,
until an enterprising
camera-man proved
that he has the
typical benevolent
smile of the screen
father who pre-
cedes the sub-title,
" Bless you, my
children," when
happy endings
glide through the
projector.
Carpentier, has probably faced more
kinema cameras than any other
representatives of the pugilistic world,
conveys the impression that he is a
cheerful, irresponsible tomboy. He
Left : The Prince
of Wales;
right: Carpentier.
utilised his fighting prowess as a
college boy-hero, who thwarted the
undesirable attentions of a gang of
crooks to a pretty heiress.
It was the film cameras that
All of which suggests that there is
some- undivined quality possessed by
the Anglo-Saxon type of features
that goes to make the most effective
film face.
20
Pictures and Picture poer
OCTOBER 1922
No man is a hero to his own valet but
what of his wife ? Dorothy Davenport,
who is Mrs. Wallace Reid in private life,
answers this intriguing question, in so far
as it relates to the "flappers' idol," in
the following biographical study. Needless
to say, Wally comes through the ordeal
with flying colours.
m Wallace Reid
at home — two snapshots of the screen idol.
I ^T ▼hen I first met Wallace Reid,
% \ I the first thing I did was
%/ \f to get mad !
yf jf If anyone had even so
much as suggested that
some day we would be married, I
would have deemed him utterly foolish.
Why did I get mad ? Well, I thought
he was terrible as an actor. As I have
often told him since, to his annoyance,
at that time he impressed me as being
all hands and feet— just a big, over-
grown youngster — and I felt somewhat
offended that they should give me
such a youngster, who didn't know the
first thing about acting, to play with
me as a leading man. That first day
I went home mad.
I first came to California in the
summer of 191 1 with Tom Ricketts,
who was then directing for the
old Nestor Company. Harold
Lockwood was my leading man
and Victoria Forde (Mrs. Tom
Mix) was playing ingenues. Mother
and I were getting jointly the
sum of ten pounds
a week. We left
New York just
a short time be-
fore Wally and
his father took
charge of the
Reliance Studio
there.
I had been in
Hollywood a year
when Wallace ar-
rived. He came
out with Otis
Turner as general
utility man, writ-
ing stories, turn-
ing the camera,
and doing what-
ever was neces-
sary. One day
my company was
short of a leading
man, and as the
Turner Company
wasn't yet well
organised and
ready to start,
they loaned Wal-
lace to us to play
the lead in a few
pictures. Those
were the days
when only a day
or two were re-
quired to make
a picture, when the first two hundred
feet of film were taken up with the old-
style individual introductions of the
characters, who would bow and smile
to the audience from the screen, and
when the spoken titles were on a
placard in the set.
My aversion to Wally as a leading
man didn't last long, however. I soon
learned that, even though he was only
twenty-one, he had the staying quali-
ties of a man of older years. At that
time I was at that very glorious age
of woman — seventeen — and had been
playing for some time with men of
more mature years, such as H. B.
Walthall, James Kirkwood, and others;
and for them to give me a leading man
who was onLy twenty-one, I considered
the height of audacity. I didn't con-
sider a man grown up until he was
bordering on thirty.
Wally got a flat with Eugene Pallette
at a house on Vine Street, in Holly-
wood, which was later converted into
an orphans' home, and some time
afterward burned down. The boys
were lonesome, however, and per-
suaded my mother to take a house
and keep house for them for several
months. I had three horses, and the
boys built stables for them. We prac-
tically lived on those horses. We would
ride out to Universal City to work
every morning, then would ride all
day making Western pictures, then
ride home to Hollywood in the evening.
Then, when Sunday would roll round,
Wally and I would go out horseback-
riding for diversion.
It was on one of those Sunday
equestrian excursions that he first
proposed to me. We had ridden out to
Griffith Park, and had brought our
horses to a walk along the mountain
road, when he broached the question
of matrimony. As Wally tells it, I
informed him we were much too young
to do anything of that kind, and then
proceeded to spur my horse away on
a dear run, leaving him flat.
Soon afterward Wally went to Santa
Barbara, to the old American studio,
where he directed, acted, then did
both simultaneously. In the meantime
I joined Ince Kay Bee, where Reginald
Barker was then an assistant-director,
and Charles Ray one of the young
juveniles. Wally came back after
about a year, accompanied by Allen
Dwan, and went to Universal, where
he was given his own company if|
OCTOBER 1922
Pict\jK25 and PictureOoer
21
direct in August, mij. I went over
with him as leading woman, and then,
later, we co-starred. A little while
afterward we were married.
There never was another proposal.
It just sort of worked out naturally,
and seemed the matter-of-course thing
to do. 1 think he and mother arranged
it. The only thing I had to say about
it was the date. I insisted upon being
married on the thirteenth. That was
the thirteenth of October, 1913. My
birthday also falls on the thirteenth.
Our wedding wasn't a very sumptuous
affair. On our honeymoon trip, which
we didn't get until three months after
the wedding, we made five two-reel
pictures in the ten days oft. Imme-
diately after the marriage we stayed
right on at the studio, working.
At that time D. W. Griffith was
beginning to attract world-wide atten-
tion as a producer, and Wally was,
of course, very anxious to work with
him. About a year after our marriage
the opportunity presented itself, and
he gave up the strenuous work of
writing two stories a week, and then
directing and starring in them, and
went over to the old Fine Arts Studio
for less salary. Griffith began to make
plans for The Birth of a Nation, and,
Walthall being ill, Wally was to
have the part of the little Colonel.
His enthusiasm was unbounded !
Costumes were made up to fit him,
and about five hundred feet of
film were made of Wally in a few
scenes of the part. Then came the
big shock. Walthall recovered
quickly, and was able to take the
part, and Griffith began all over
again and put him in. They just
about killed us, of course. Griffith
then assigned Wally to the role of
the blacksmith, who had the fight
with the gang of rum-crazed negroes.
He made another picture or so with
Griffith, one of which was Old Heidel-
berg, with Dorothy Gish ; and then
came the opportunity to play under
the direction of C. B. De Mille.
I don't remember just how this
came about ; but, at any rate, Wally
was signed to play with Geraldine
Farrar in Carmen, and later, Maria
Rosa. He continued playing with Miss
Farrar under De Mille's direction in
The Woman God Forgot, The Devil
Stone, Joan the Woman, etc., and also
played in several other De Mille pro-
ductions. Then he co-starred with
Gleo Ridgely in The Golden Chance
(which was reproduced a while ago by
Mr. De Mille, and called Forbidden
Fruit), The Silver Spur, and several
others.
So much has been crowded into
the short nine years of our
married life, that it seems
that I have been married
much longer. We have been
through years and years of
experiences, it seems. I have
been in a position to see
the marvellous development .
which has taken place in
WaUy's work from the time
Pict\jKes and Pict\ji'8$ueK
OCTOBER 1922
There are actors with
whom we seem
ne> er to get ac-
quainrcd. Perhaps
' heir vvoi k is fault-
less : they.ire called
.Hi omplishcd pcr-
formcrs, but some-
how, they fail to
I. isc in Le. "1 hey arc too
smooth, too cold, Loo much
like a machine grinding out
entertainment solely for our
admittance money. In the
days when the play and play
technique were everything,
and the player nothing more
than a puppet, actors sought
to suppress themselves, tried
not to repeat the same pet
gesture or expression twice
in the same play, for fear
of criticism.
Things have changed.
Motion-picture patrons go
to see their favourite ; they
hope the play will be a good
one ; but that is a secondary
consideration. And the
favourite usually is a player
of individuality, a human
being. It is good art as well
as good business to cultivate
a movement that wins the
crowd ; for what is acting if
it fails to win its audience ?
Henry B. Walthall has a
way of running his fingers
between his collar and neck,
as though to facilitate respir-
ation. At times, it is the
most eloquently expressive
minor movement he could
make, and one peculiarly
consonant with tragedian roles. I thought
he repeated it too often in The Misleading
Lady ; but I would rather sec him a bit
too human than stiff with the starch of
technique.
It is individuality that we love so well
in William S. Hart — that and his sin-
cerity. A characteristic movement with
the premier Westerner — one that I have
•never seen duplicated as a habit, in another
actor — is the grasping of his right forearm
(the hand of which usually grips a re-
volver) with his left hand. You can note
it in Draw Egan, The Devil's Double,
Truthful Tulliver — nearly all his plays ;
and it always introduces a season of bad
luck for the opposing
faction.
Perhaps the " wrinkle
identified with " Big Bdl
of a match with his thumb-nail. Othei
actors do it — and I believe L have seen
Gretchen Hartman do it — but Hart seems
to hold the original " patent right.''
William Farnum might be known by
his frown, were the lower half of his face
hidden. No actor, to my knowledge, can
express so much in this way. [ His frown
of rage, when he " sees red, "J is charac-
teristically Farnum ; even the terrible
right-hand wallop is not more entirely
Tarnumesque. Also, he frowns in per-
plexity distinctly a different frown ; but
when he wants to be agreeable no one can
On the screen " every little movement has a meaning of its
own," and experienced picturegoers can always recognise
the characteristic gestures of their favourite stars. This
fascinating article deals with the "trade-marks " of popular
players.
excel this same Farnum in depicting the
open countenance of good - nature and
ingenuousness.
Another screen hero, sometimes a " bad
man," who nearly always opens up the
scene of violence with a certain little
movement, is Harry Carey, He is bound
to hitch his trousers once or twice before
" going after " his enemy, as though
mistrustful of his .belt. The action is
well timed and perfectly natural — like
the rest of this splendid actor's work.
Tom Santschi is not at his best on the
screen without a cigar, and no one else
can manipulate the weed with quite the
same effect. Watch him in The Spoilers.
How subtly he makes the cigar tell us that
its handler is at all times a real he-man and
as cool as a cucumber ! And where would
Theodore Roberts be without his weed ?
The Fairbanks smile is too well known
to require special mention. Though Doug,
is decidedly original all through, his
smile is particularly so. Spontaneity,
good - nature, happiness, radiate from
* Fairbanks continuously, on or off the
screen ; and that broad, frank smile is
cheering countless thousands every day.
To see the " smile doctor " in a play like
The Americano is to be safe from the
blues for a week.
Charlie Chaplin does so many original
things that it would be difficult to say
which one is most closely identified with
individual or
most closely
is his striking
him. The hat, the cane,
the dinky little moustache,
are all Charlie's very own.
Perhaps his walk, especially
that stiff one-legged balance
and hop, which has so many
imitations, but no equals,
is the most individualistic
of his antics.
Actresses, too, acquire
habits in expression, and
cultivate those that are
well received. The fiendish
laugh of the vampire at the
spectacle of human wreckage
wrought by her wiles belongs
to Theda Bara. No other
screen siren or apostle of
vengeance has equalled Miss
Bara in portrayal of dia-
bolic pleasure over crime ;
and this is the more remark-
able when we recall that
this actress is as sweet and
gentle in private life as anv
Th -da
B <>■» '.top)
was a
wild-cat
vampire who
carried all be-
fore her with
the ferocity of
her passion.
Virginia
Pearson (right)
lured by
means of her
panther-like
grace.
OCTOBER 1922
woman. Thcda's gesture of throwing
up both hands as though to tear
down her hair is equally charac-
j teristic, and may he observed
J nearly all her plays.
Olga Petrova uses many minor
1 gestures. She has a very expressive
way of opening and turning up her
i hands — from a clasped position in
front of her body, or from her lap, if
sitting. Mme. Petrova uses her
shoulders very frequently I shall
always remember the eloquence of
her shrug when, in The Secret of Eve,
she loses her chance to eat by spilling
the bottle of milk. It said, just as
plainly as words : " Well, it can't be
helped." And, again, in The Black
Butterfly, when she is feigning a care-
less attitude towards her lover, those
shoulders ask him, defiantly : " What
are you going to do about it ? "
Kathlyn Williams uses her hand to
reinforce a promise or strengthen a
plea. Miss Williams has a way all
her own with men ; when she lays her
hand on a masculine arm, there is
something magnetic in the contact
— no coquetry or hypocrisy, but a
pledge of comradeship, something
altogether big and wholesome. Kath-
lyn is a man's woman, in the best
sense of that expression ; when she
gives that strong, able hand, men
know instinctively that here is
a pal worth having.
" We have kissed the enemy
and he is ours." No
wonder they all surrender,
& la " the Stranger," in
The Flame of the Yukon,
when Dorothy Dalton puts
an arm around their neck !
Any time she gets within
kissing range, as a vam-
pire, the struggle is
over. Miss Dalton has
an expressive double
hand gesture, as seen
in The Dark Road. In
The Ten of Diamonds ,
when she stops the wed-
ding and drives the
guests from the room,
we see the same simul-
taneous use of the handb,
and it may be observed
in most of the Dalton
plays.
Virginia. Pearson makes
capital use of her height.
It gives her beautiful
curves and willowy grace,
and in her siren roles,
she uses them with telling
effect. One of Virginia's
most characteristic move-
ments is a momentary
pose with her forearm
curled over her head.
She has a maddening
way of stealing into a
man's arms — then out
again. How this Ken-
tucky beauty can sneer
when she elects to be
peevish ! In Daredevil
Kate, her contempt of
Hcr\jKes and KicrureOoer
Bentley cuts like cold steel. I
think the sneer hurts the poor
devil more than the threatening
weapon could.
Lillian Walker is the female
Fairbanks. To see her smile is
a tonic, and to watch those dimples
is a show in itself. And these dimples,
wonderful as they are, are no more
remarkable than the method of their
use; for it is truly unusual to find
a possessor of this enviable mark of
beauty who can refrain from "showing
off." Lillian smiles, and that smile is
worth the price of admission, plus any
war tax ; but it is never an empty, cause-
„fJ less smde. In the use of her dimples,
Lillian has an act assuredly all her own,
and she doesn't need to worry about imi-
tators. Her dimples are quite unique.
Another Lillian, the elder of the talented Gish sisters, has a
characteristic attitude when registering terror. Every picture-
goer knows her "hand-to-mouth " gesture.
The list might be continued indefinitely. Motion-picture
devotees will find it highly interesting to watch for the particular
pet movements or strong expressions of their favourites.
There is eloquence in every shrug of Olga Petrova's shoulders.
famous all the world
o< er.
The Harry Carey
" hitch."
Pictures and Picture 0 oef
OCTOBER 1922
'KeMourtAfvi
< /X\irth maker
-^^ D..-. \r~~i-~- :_ i . j !l.j . lli.L. .. .__«_.
Busier is an
excellent mimic
Here he is
seen imitating
May Allison.
TT "X ecause laughter is very akin to
1 tears and tragedy treads hard
1-^ on the heels of comedy, there
\ is a human desire in the heart
1 of every comedian to blend
m foolery with pathos. From
"^ J the Court jesters to the circus
^^ clowns, this wistful yearning
for sympathy has constituted a part
of the contradictory mental made-up
of funny men down the ages. And
the screen comedian is not exempt
from this characteristic of his fore-
runners who donned the fool's motley.
Buster Keaton, whose screen
humours have extended a grin through-
out Europe, craves to desert the
atmosphere of custard-pies and ludi-
crous matrimonial misunderstandings,
to play the character-part of " Ham-
let." Strangely enough, if the long
lank wig ahected by those who repre-
sent the melancholy Dane were to
frame the lugubrious features of
Buster, he would not need to change
Buster Keaton is best described as " the man who never smiles." On
or off the screen, he presents to the camera a face that reflects infinite
sadness. But as Natalie Talmadge is Mrs. Buster Keaton, it may be
assumed that Buster's smiles work overtime when films are not being
shot or publicity stills being made.
his expression.
The mourufulness
that he exploits
with such laugh-
ter-raising effect
in his two-reelers contains the very
ingredients, where facial expression
is concerned, that would admirably
provide the requisite touch of tragedy
for his soliloquies over the skull of
Vorick. All of which shows that
Buster Keaton has learned that a grin
is merely the antithesis of a sm le.
Yet if you imagine that the amaz-
ingly acrobatic First National come-
dian arrived at the decision never to
smile on the screen by a process of
psycho-analysis or similar highbrow
study of the psychological influences
that create vibrations in the vicinity
of the funny-bone, you are wrong. He
became to the movies what Alfred
Lester is to the English stage through
a very materialistic reason.
" Why don't I smile ? " re-echoes
Buster when he is asked to explain
the reason for his lugubrious screen
countenance.
" Because I'm too busy being tossed
and knocked around to spend much
time in grinning."
He will go on to explain how in his
youthful stage days, when he was
touring the music-halls in an acrobatic
act with his father, he was punished
with the hand of parental authority
if he grinned over the footlights.
" Father regarded a performer who
laughed and smiled at his own antics
as committing professional suicide,"
Buster will tell you. " So I was never
allowed to smile during the act. Not
that I wanted to very much, for I used
to have a trunk handle sewn to the
back of my coat, which enabled father
to throw me about the stage. He
hurled me at the scenery, and often
threw me as far as thirty feet. If I
smiled I was thrown into the ' wings,'
and I knew that meant I had to quit
being cheerful.
" Eventually my dejected expression
created trouble. For people wrote to
the police authorities and said that my
father's act was a cruel one, and
theatre managers were deluged with
letters from sympathetic women pro-
testing at the way in which ' that poor*
child ' was treated."
It was during those davs, when the
youthful Buster and his parent were
continually arrested after their per-
formances for breaking the law where
cruelty to children is concerned, that
he learned his extraordinary gift of
tumbling without damage to his
anatomy.
I learned how to tumble naturally
without even so much as a bruise,"
Buster explains.
It was this gift that did much to
influence his immediate success on the
screen when he forsook vaudeville and
made his debut in film slapstick in
The Butcher Boy. He stepped into
stardom from that moment, and his
subsequent pictures — His Wedding
Night, The Bell Boy, and The Round
Up — started the film world talking
about the diminutive indiarubber-hke
youth who pursued a smileless career
through hundreds of feet of amazing
comedy acrobatics.
Undoubtedly his destiny had at last
been fulfilled. For it did not require
a consultation with the book of fate
to realise that Buster Keaton was
destined to become an acrobat. Before
he was six months old he had tumbled
down a flight of stairs, a bundle of
pink humanity, pursued by distracted
parents who were too relieved that he
had escaped damage to realise that
young Buster was merely putting in
preliminary practice for his future
career.
As valuable as his elastic limbs,
however, is Buster Keaton 's natural
sad, reproachful expression. His esca-
pades on the silver sheet continually
present him as the surprised and inno-
cent victim of the slings and arrows of
the strenuous slapstick life as the film
comedy reflects it. You laugh at him
with a suggestion of pathos in your
merriment. For Buster has much of
the power of Charlie Chaplin to evoke
that sympathetic laughter that is
spontaneous because it vibrates chords
of pity intermingled with appreciative
chuckles.
Sarah Bernhardt, who met Buster
when he was on the stage, once told
him that he would make a great
player of tragedy. Yet in his twenty-
fourth year he has reached the high
places in film comedy, and he is famous
all round the .world for his screen fun-
niosities. He lias little time for study-
ing drama, for in his spare moments
.^
OCTOBER 1927
Pictures and PicfuKeQoer
25
said Ma
with an
man was
lie is lurking around suburban gardens
studying the washerwomen, local
policemen, and similar types which
he can burlesque on the screen. He
admits that his humour is not spon-
taneous. Those delightful pieces of
comedy that he Introduces into his
pictures, and which occupy but a few
hundred feet of celluloid, invariably
represent long and prolonged study.
Buster has a characteristic of bringing
an almost lawyer-like seriousness to
the working-out of the most ridiculous
" gags " for his comedies. One of
the most extraordinary sights seen
in a film studio was the recent
spectacle of the vivacious Nazimova
assisting Buster to complete the
ludicrous details of a comedy scene
with an antiquated mangle, during a studio rehearsal.
And, still in his battered straw hat, baggy trousers,
and bulging comedy shirt-front, Buster at the con-
clusion of the performance drew her away lo a quiet
corner for a discussion on Russian music.
When Keaton becomes reminiscent he will tell you
that one of the greatest days in his life was when Ma
and Pa Keaton came to see him being filmed for the
first time. He was appearing in Convict Thirteen,
and his comedy clothes anil make up provided a shock
for his alarmed parents.
" Good heavens, how you've changed !
Keaton, gazing at his grotesque features
anxious expression.
Buster had to explain that the property
responsible for his strange appearance, and even-
tually he persuaded his parents to play before the
camera as extras in Convict Thirteen. Thus the old
association of the Three Keatons, who had toured
the theatres of Europe in Buster's early days, was
resumed on the screen.
Recently Buster was responsible for robbing the
screen of Natalie Talmadge. For since her marriage
to the First National comedy star she has forsaken
the silver sheet for domesticity.
Buster met Natalie at the Talmadge Studio in New
Ybrk, and with his customary impulsiveness he pro-
posed to her after an acquaintance of a few weeks. .
But Natalie refused to contemplate matrimony. She
had always said that she would never marry before Constance. When
Buster heard that Constance was married he wired without delay, and
Natalie cabled back " Yes."
Then, through an irony of Fate, the indiarubber man who had sur-
vived the most strenuous acrobatics for years, broke his leg during an
escalator stunt in one of his comedies. So several months elapsed before
the patched-up comedian was married at Norma's mansion at Txmg
Island, and spent his honeymoon motoring back to Los Angeles.
Still in early life, Buster Keaton has still far to travel along the
path of kinema fame. He does not intend to forsake film comedy, despite
the advice of Sarah Bernhardt, Lily Laugtry, and other famous artistes,
who have tried to persuade him to forsake slapstick for sterner stuff.
His comedies A "ighbours. One Week, The Scarecrow, The
Goat, and The Playhouse -have still further enhanced the
mirth-raising reputation of this serious-faced young man
nth the wistful, reflective eyes atid sympathetic mouth that
never smiles, before t lie cameras.
There is one secret sorrow which Buster nurses, and that is
that now he has obtained success which places him amongst
the highest paid artistes ot the screen, he cannot be true to
tradition and purchase the old homestead where he first saw
the light of day. The First National comedian was born in
' Pickway, Kansas, and forty-eight hours after a cyclone swept
over the town, and razed it to the ground. Fortunately for
| the gaiety of nations, Buster and his family escaped being in-
i volved in the ruin ot their house.
I ins early misfortune, and the alarming incident when, owing
I to a hitch in a hanging apparatus, Buster was almost hanged on
i scaffold ere< ted for comedy work in Convict Thirteen, c On -
i stilute rhe onh real adversities in the comedian's life, despite
Alice I ah
Mr. and Mrs. Fluster Keaton
at home
his lugubrious expression.
In private life he has plenty
of opportunities of smiling,
however, for he lives with
his devoted wife, Natalie, in
a picturesque bungalow in
the Calif ornian hills. Nata-
lie, who gave up twenty
thousand a year when
she chose the career of
housewife to Buster,
is retaining her in-
terest in the screen by
helping her husband's
work in the studios.
Buster Keaton has
brought a new phase of
humour to the screen
which has not the tran-
sient life of fun that
is provoked with sledge-
hammer methods. He
reflects a subtler form
of fun-making that
garbs human na-
ture with the cap
and bells of a
jester.
p. R. M
The hunted look
in Buster Keaton' s
eyes seems to tell
us that life is
a very tragic /
affair - -for Buster.
But Buster weeps
alone whilst
the world laughs
at hi~ screen miseries.
26
Pictures and Pict\iKe$oer
OCTOBER 1922
VIOLET HOPSON
Has starred in a score of British screen successes.
■The Case of Lady Camber," "The Romance of a
Movie Star," " A Turf Conspiracy." and " Ktsstng
Cup's Race'" are amongst her best-known pictures.
OCTOBER 1922
Pictures and RictureOoer
29
MABEL BALLIN
Has had an extensive stage and screen career. Her
films include "The White Heather," " Lord and Lady
•A^y." "The Illustrious Prince." and "East Lynne."
She is married to Hugo Ballin, the well-known director.
30
Pictures and Picture Qver
OCTOBER 1922
HOPE HAMPTON
Was hor>t at Dallas, Texas, and commenced her screen
career as a star. Some of her pictures are "A Modern
Salome," "The Bait," "Love's Penalty," and 'Star
Dust." She has auburn hair and dark blue eyes
tail)
OCTOBER 1922
Pictures and PictureQoer
a Movie Mode
31
Posed by Priscilla
Dean, Universal Star.
Evening wraps of Russian fitch and
summer ermine.
A sports costume oi black and
white knitted silk.
32— OCTOBER 1922
PicNrh ,/(V
\ireO&er
OCTOBER 1922 2>Z
PLM STORS AT AO/VN9-
vith Rolsj\d.
C~...~ A 4.1 1 i._ *r 4-U„ Cafi^l OllAAn ^^^"^^^
Some domestic snapshots of the Serial Queen
o you may be sure her
|(Ae picture above Ruth
| since j/ie mas n baby.
\udoir and music-room.
34
Pictures and PicfureQoer
OCTOBER 1922
ML L'Er\(a'r\t Prodi&e
ff> S> x^> ® >>;
Jackie gives Doug, a hint as regards the
role of Rohm Hood.
OCTOBER 1922
Pictures and P/c/-\jrepuer
MaivW^maivMamcY^e
1J J<?MN FLEMING
"*w t lie beginning-. Rocks and a
| i ilent sunset. The two men and
I the Woman. The fight. . . .
I A;id the victory, when he of the
straight arm wins the Woman
from his enemy. . . . She goes
with him — she must go — the man's
«^^» word is law ; the Woman is the
slave of his will. . . . He casts
the blood-stained club away to where
his fallen enemy lies, and grips her arm
and takes her to the black cave. She
must go. Woman is the slave of man's
will. . . .
Such was the vision. Victoria
turned from the window with a sigh
and faced her father.
" Yes ? " she said.
" I said," replied her father, " that
Schuyler is below. You know that the
business is bad, and that Schuyler's
interest can save it. I have been a
good father to you- — j — "
She went from the room and down-
stairs, her father following. Schuyler
was in the library, a tall, handsome
man, but with eyes that looked un-
certainly, and at nothing long. He
greeted her now with his best smile,
and his voice was low.
" Victoria — may I call you Vic-
toria ? Your — your father has given
me a little hope — I want you to marry
me, Victoria. I have built up a big
fortune and a big business — it is
probable that your father and I will
soon be going into partnership. If
you would marry me — — "
She held up her hand, cutting short
the strange proposal. " 1 will marry
you," she said.
There was no enthusiasm in her
voice, but the enthusiasm of Schuyler
sufficed for both. In his surprise he
did not notice the ice of her tones.
The sudden surrender was token of
love, in his eyes. He took her hand
and kissed her.
" Victoria ! What shall I say ? I
cannot find words to express my joy !
CHARACTERS:
Victoria - Dorothy Phillips
David Courtney James Kirkwood
Schuyler - - Robert Cain
The Father - - Ralph Lewis
The Mother - Margaret Mann
Narrated by permission from the Associated
First National film of the same title.
My own Victoria ! I will always,
always — — -"
He broke off, and made another
kiss serve in the place of a vague
promise.
Then they both looked round and
into the smiling face of Victoria's
father.
The engagement was formally an-
nounced. The ring cost a small for-
tune. The world continued to go
round.
It was on the first day of summer
that Victoria and Schuyler rode
together in the Long Woods. Love
ol life, wakened afresh, brought 10
her checks th ■ bloom that had not
yet come ac ih? bidding of love of
man. To her, love of man was yet
unborn. But the year v;i.s young,
and the birds sang high, and the
brooks laughed, and all found an
echo in Victoria. Even Schuyler
momentarily brightened, believing
that he was making progress.
" Great day ! " he commented.
His voice was like a cloud to her,
dulling a golden vision. Always a
cloud seemed to creep across her
visions. A girl of many visions was
she, a dreamer of golden dreams ; but
every vision fell and every dream
commonly ended. Now it was a
voice. His voice. . . .
She rode on in silence. The year
seemed suddenly older, the birds and
the brooks less mirthful. When a-
cry for help rang out across the
glades, it seemed a fitting cry.
" Listen ! " she said.
The cry came again, and when they
turned their horses and plunged
through the green, they came upon a
man deep in a trap that had been set
for some wild creature of the woods.
A danger sign was near, but the man
in his walk had not seen it.
. " Are you hurt ? " she asked.
" It has gripped my ankle and I
cannot move," he replied. " Perhaps
if the keeper could be found —
She glanced at Schuyler. " I'll go
find the men," said Schuyler. ' We'll
have you out in no time at all."
36
Pictures and PictureQoer
OCTOBER 1922
David's wife was unduly brilliant and smiled with extra sweetness at certain of
the male guests.
He rode away, and then Victoria
dipped her handkerchief into the run-
ning brook and bound it about the
temples of the captive. He thanked
her, and looked deep into her eyes.
She blushed and looked away. There
was something . . . something. . . .
His arm was straight and strong, and
his glance was fearless. . . .
When Schuyler returned with the
keepers she had learned that his name
was David Courtney, that he was a
struggling solicitor and engaged in an
uphill humanitarian fight, almost un-
aided. Schuyler gave the pair a sharp
glance, but said nothing.
Until he came upon them talking
together in the city a few weeks later.
Then, at his first opportunity, as they
walked in the garden of her father's
house —
" A man, of course," he said,
" requires to be assured that the
woman of his choice comes to him in
the first bloom of her womanhood,
fresh . ."
And does not a woman require
that assurance of the man ? " she
flashed.
He shrugged his shoulders.
" A man is- a man," he said.
She took off her ring and cast it
at his feet. Then, without a word, she
turned on her heel and fled to the
house.
When Schuyler overtook her she was
in the hall, facing her father, whose
brows were low and whose lips were
set.
" The man has insulted me. I
refuse to marry him ! " she was saying.
" I did not mean to ! " vowed
Schuyler.
Victoria's father gripped the girl's
wrist and dragged her from the door.
" Hurry for a clergyman and a
special licence," he said to Schuyler ;
and to the girl : " Go upstairs and get
ready. You shall marry him now."
Schuyler hurried away, well pleased
at the turn events had taken ; and
Victoria slowly mounted the stairs, her
head bowed and her heart heavy. The
old man mounted guard at the door, so
that there should be no escape.
" What is wrong, child ? " asked the
girl's mother, softly opening the door
of her room.
" I am going, mother," she replied.
" It is Schuyler . . . he . . .oh, I cannot
marry him ! I do not love him ! He
insults me. I. . . ."
Softly her mother kissed her and
whispered words of. advice and left
her to her thoughts.
Her thoughts ! Her visions ! Of
Woman the chattel . . . given . . .
taken. . . .
But there were other visions too.
She seemed to see, as if from the
highest peak of a last reincarnation, a
memory of a distant dream . . .
The Middle. Ages. The unre-
lenting baron and his fair daughter,
and the wealthy suitor who brought
to the match everything bill loue
and youth. Bald and toothless,
but rich, very rich. . . . The
bridesmaids assembled in the great
hall. The servants festive. Even
the priest could smile as he
opened the book and waited for
the ceremony's commencement.
Everybody but the girl. And
then — a run to the open case-
ment— a signal shown — a hand-
some figure in shining armour
dashing into the hall — a wave of
the sword, wielded so surely in
his strong, straight arm — and she
was away by his side in the
saddle — away to where the year
was young and the birds and the
brooks sang and laughed. A
chattel still — but a chattel of
Love. The slave of man's will.
But the right man ! The good
knight ! Her knight ! . . .
A vision, but surely a vision
of hope ? Victoria crept softly
to the telephone, and in a
moment was speaking with David
" Yes, Victoria speaking. . . .
Yes. . . . David ! If — if you
love me as — as you said — come
and take me now. I am yours —
waiting. . . ."
She dressed slowly for a
journey, and when her father
called, obediently she went down-
stairs. Schuyler was back, and
with him the clergyman. The clergy-
man smiled as he opened the book
and waited for the ceremony's com-
mencement. . . .
She heard somebody speaking, as
if distantly, dimly. She was not
listening. Her ears were for the
sound of the throbbing motor that
raced up the street and stopped. . . .
The door opened, and David stood
there. . . . She ran to him.
" Take me away," she sobbed —
" before it is too late ! "
He lifted her in his arms and turned
and ran down the garden path with
her; and before Schuyler and the
others were half the way, the motor
was off down the street and round
the corner and away.
'"T'heir home was small, and it was
1 poor, for David himself was
poor as yet, but it was a tiny paradise
to Victoria.
" It is just heaven," she smiled.
" And from it we will help to bring
heaven into the lives of others. Your
work — .not your practice, but your
humanitarian work, your uphill fight
unaided — David, I shall share this
with you. Your work shall be my
work. You shall climb the hill alone
no more. I shall be by your side.
Little things at first— I will keep your
accounts, I will solicit subscriptions
for your funds, and leave you to the
bigger work but I will help, 1 will
do what I can 1 will be more than a
wife to you. 1 will be a comrade
OCTOBER 1922
Pictures and PicfureQoer
He smiled and kissed her, and told
her that she was the most wonderful
woman in the world.
His wife ! His comrade ! To help
him in his life-work ! This was all
she asked. And that night, long after
the great city slept, she lay awake,
and thought she saw, at last, the
truth. Not a chattel, not a slave —
a fighter ! A warrior for right ! Had
it not been so before ? In other ages
had she and David with their strong
arms driven the wrongdoer from the
fold, and set up right on the throne.
In the great rock-city of the Amazonian
Empire. On the topmost rock the
Keeper of the Giant Drum sounds out
the warning. The infidels are coming
to the city. To arms ! And side by side
with the soldiers are the maidens of the
stronghold . Warriors all. Not weeping
and wailing, but serving, too. Comrades
in arms ! Men and women. Nature's
crown, this ! Not a slave, but a helper.
And when the last of the enemy is
driven from the field, and the triumphant
hosts return, it is as an equal that the
queen shares the throne by the side of
the strong-armed king. Woman the
Equal ! the Eighter ! Such was the
eternal truth.
Or so it seemed to Victoria."
Time passed. The little one came
to crown their joy, and then, mate
for him, a second, a girl. David and
Victoria they called them, and for
their future great things were planned.
" They shall carry on our work,"
said the woman.
" They shall start better than
we started —better equipped," said
the man.
And he told her of his own plans,
of how his business was gradually
building, of how soon he might go
into politics and make a fortune,
and a great name to pass on to
his heir.
" I am meeting Henshaw, the
boss of the Right party, to-night,"
he said. " Henshaw is pulling
ropes for me, and no one can say
to what heights we shall get."
" And then," she said, " our
humanitarian work shall be
sounder than ever. Where
now we save one slum child
from hell, then we shall
save a hundred. There
shall be no limit to our
work. We shall be able
to do anything ?
" We shall be able
to do anything," he
agreed.
She was smil-
ing. But when
she looked at
him she saw
that he was not
smiling. She
wondered. . And
a vision began
to crumble.
Were all her
visions always to
crumble ? . . .
Henshaw came
" I've been watching your career,"
he said. " Outside the camp you can
be a dangerous man to us— which is
why we invite you to come in. A man
of your talents should be making
thousands a year. Join us, and your
election at the next poll is certain.
Rut — remember this : orice elected,
forget your ideals, forget your dreams,
obey your orders. It will make you a
wealthy man. Stay away from us
and you will remain poor. What do
you say ?
He hesitated. From behind a cur-
tain came a little sob, unheard by
Henshaw. David hesitated. And
then he saw, stretching ahead, all
the empty years of poverty as they
stretched now behind. Poor ! Always
poor ! Always poor ! No ! He
hesitated no longer, but rose and
clasped a hand in Henshaw's.
" I am with you ! " he said.
And as Henshaw took his departure,
with another sob Victoria came for-
ward .
" David ! " she cried. " You have —
sold yourself to the enemy !
" My dear girl," said David, testily ;
" we cannot remain forever in this
rut. We must get on and get up.
We must rise."
" Are you sure you are not sinking ? "
she asked.
" One must go into politics to suc-
ceed," he retorted. "And I intend
to succeed. I am going into politics."
She said nothing now. But the
silence was broken by another sob.
David went into politics, and the
Courtney family moved into a
fine home, and soon into one still
finer. And in a little while came the
writing on the wall.
" The accounts for the children's
holiday fund are long and very in-
volved," said Victoria one night.
" I must get them clear before I
sleep. Go to bed, David. You look
tired and worn. I can manage along
without help."
" Leave it ! " he said ; and at his
sharp tones she glanced up. '.' I don't
believe in women meddling in busi-
ness," he continued. " A woman's
place is in the home — not in an
office. I am engaging a secretary to
do the work you have been doing.
You must look after the home more.
We shall be doing a greater amount
of entertaining this season. . . ."
" David ! "
" Yes ; well, all right — don't make
a speech, my dear. We have our
position to keep up. You can't do
everything. You must stay at home."
Victoria hated the in-
solent familiarity her
pose brought up-
on her, but she
was determined
that David should
suffer.
^d
38
Pictures and PictureQoer
OCTOBER 1922
And so she stayed ;>t home and
the secretary took her place in
the work on behalf of suffering
iiity
And into her life came Bobo the
fascinating, who was yet more brilliant,
and whose smile was wider A hun-
dred conquests had Bobo to tier
credit. With David Courtney she
scored her hundred-and-first.
Victoria saw the attachment At
first she said nothing, did nothing.
And then she saw, as a bright light
shining, her course. Yes ; Woman
was a warrior, a slayer of the common
enemy — but the common enemy was
Woman !
In a little while Gossip found in-
creased scope for her arts. Little
whispers began to get around, and
they came to the ears of David. His
wife (it was said) was unduly bril-
liant, and smiled with extra sweet-
ness at certain of his male guests.
Victoria hated the insolent familiarity
her pose brought upon her, but she
was determined that David should
suffer. David saw that she was more
popular than familiarity had let him
believe. He spoke to her afterwards
about it.
At once the mask was lowered.
" Oh, David, David ! " she sobbed.
" Don't you see ? I am doing it to
win you back — back to the life that
was Don't you see ? Let us go
back, now."
Hut he turned away without a word.
It was afternoon, and she sat in the
garden, crushed, beaten, broken-
hearted I'll is was the end. Could bit-
terness hold keener sorrow ? Could
hell show a. chamber yet unopened ?
. And even as she thought, the cry of
a newsboy reached her ears, and a
familiar name was shrieked by the un-
heeding. She hurried to the gate and
took a paper from grimy hands, and
returned to her quiet corner and read :
Famous solicitor arrested for em-
bezzlement. Children's Fund gone.
Amazing exposure.
The paper dropped from her hands ;
the last unopened chamber was laid bare
'"I^he trial was over, the sentence
1 passed, and David was in his
dark cell, alone, friendless. Victoria
had not been in court, she had not
been to see him since his arrest, no
word had come from her.
Wearily that night he lay upon his
hard bed and tried to sleep. But his
eves were wide, dully wide, staring
without seeing a distant star that
shone afar through the grating of his
cell. . . Victoria had deserted. . . .
But Victoria, too, had seen the star,
and it had shone bright to her. At last
she had seen Woman as she was. Again
from the high peak of her last re-in-
carnation she had looked down. Again
she had seen herself by the side
of the strong-armed man, but
differently, eternally, now ;
in a new role, the only one.
Rome ! Woman the
Slave at the knee of
the master. It was
the great feast of the year, and the.
soldiers home front victory were to
choose themselves wires fror.i the slaves
of the market. Every man icho had
killed one of the enemy should choose
as he wished from the waiting lines of
women ; and the others who had not
killed their man must have one chosen
for them. In a corner, weeping, was a
slave with arms upraised. It was said
that she was praying to the New God.
She was one of the converts to Chris-
tianity. The other slaves laughed. . . .
And when she was chosen and given to
a warrior, she fell upon her knees and
prayed afresh to her Mew God to save
her ; and so loud was the laughter and
the uproar that it reached to the ears of
Constantine the Emperor, whom in
silence she had loved. And Constantine
came down from his throne and ap-
proached her. " Strong must be the
faith that will cause a slave to defy
fate," he said. " IV hy do you pray
thus ? Why do you resist ? " — and
then, touched by her manner, he asked :
Is there one in the city whom you love
more than this warrior ? " And she
bowed her head and told him the truth.
" It will mean the iions for her," said
the other slaves. But Constantine took
her hand, and led her to his throne.
" Stronger than any other faith is yours,"
he said. " You must teach me to under-
stand. You are a slave no longer. You
shall be my teacher."
And at last Victoria knew. At last
she saw the truth.
With the break of dawn she was at
the prison gates — long before the hour
at which visitors were admitted. And
then she was taken to the bars behind
which was her husband.
" Victoria ! " he cried, reaching a
hand through the bars and clasping
hers. " I thought you had left me for
ever."
" I can never leave you,"
said gently. " I shall wait
you, and I shall plan
you, and I shall teach
children to pray for
father ; and, some
she
for
for
my
their
flay,
A hundred
conquests had
Bobo to her credit.
With David Courtnev si',.
,1 Her hundred and i
when these bars open,
we shall all have a
little nest waiting
for you, somewhere
where the year is
young, and the
leaves and the
brooks are laugh-
ing— and there we
shall all start
afresh together,
and I will help
you to build again
the work that we
shared together."
• " Victoria ! " he
cried again. " My
wife ! "
" Your Woman,"
she said, proudly.
''Your guide!
Your hope ! "
He drew her1. and
through the bars
and kissed it.
OCTOBER 1922
Pictures and Pict\jKe$oer
39
PictuKCgocK Parodies
The da B&K&
Vamp there was and she made her Dow
Back in the days gone by;
And though we're hardened to vampires now,
llrr flashing eyes and her frowning brow
Were considered frightful, you must allow,
Back in the days gone by.
Oh, the homes she wrecked, and the graves she decked
With roses of red disgrace,
And the tears we shed for " the loves th.it were "—
The toys of the woman who did not care —
The slaves of her deathly face.
A Vamp there was, and she worked her ill
Back in the days gone by,
With burning zest and uncanny skill,
On all who ventured to trust her will ;
Her only aim was to wTeck or kill
Back in the days gone by.
Oh, the wiles of the Vamp and the smiles of the Vamp,
Symbols of love betrayed !
Poet and peasant, king and tramp,
Victims all of her deadiy ramp,
Danced to the tune she played.
A Vamp there was, and folks watched her art
(Even as you and I !),
Saying, " Her acting is mighty smart ;
She fairly lives in each vamping part :
Behold a woman who has no heart ! "
(Nothing like you and I.)
We watched her act, but we missed the fact
(For we never understood)
That, although she came in a vampish role.
She hated vamping with all her soul,
And she wanted to be good.
Oh, the kisses she gave, and the hisses we gave,
For we never understood,
That the way she treated each loving slave
Was not at all how she wished to behave,
For she wanted to be good.
A Vamp she was when she made her bow
Back in the days gone by,
But she's grown repentant and sworn a vow
No more to fright us with frowning brow,
For Theda's turning a good girl now,
Even as you and I !
40
Pict\jK2S and Picture Over
OCTOBER 1922
Ivy Close ivill be seen
in one of her famous
flapper roles in " The
Pruning Knife," now
bring produced by
Waller West.
Bnhsk Studio
i'P
Austrian Adventures.
eralrl Ames is home again after a busy
time filming Within the Maze in Vienna.
" I he scenery round about is delight-
ful," lie told me ; " and the people
quite charming. Their ideas of us,
though, are sometimes unique. ' Tip-
perary ' they appear to regard as our
National Anthem, and used to ask
the orchestras (there are hundreds
there) on the quiet to play it for my
special benefit. " Many exteriors were
made in the beautiful Thiergarten,
which was the old Emperor's private
/' hunting forest. " It is full of wild
boar, stag, and mountain goat," con-
cluded Gerald, " which came and stared us
out of countenance."
We agreed that Austria certainly had its good points,
for Gerald expatiated upon the excellence of his hotel
there, with various details of cuisine and attendance.
After outlining one day's programme, he made me give
a guess as to the charges. Of course, I was all out ; for,
though in Austrian currency it sounds a frightful lot,
in English money Gerald had been living at the hectic
rate of two shillings per day !
Sport On the Screen.
After the purely technical tennis film which Suzanne
Lenglen made at Stolls, we are to have a series of films
dealing with other sports, but with the added interest
of a story. Some are two-reelers, and they deal with
boxing, rowing, cycling, cricket, and football. Arthur
McLaglen (one of Victor's numerous brothers) and
Jack Bloomfield spar and star in the boxing film,
Quitter Grant ; and James Knight is hero of the cricket-
ing story, Playing the Game, and also the Boat-Race
film, Bowing To Win.
Wheels and Reels.
In the cycling two-reelcr. Rex Davies stars, with Peggy
Carlisle opposite. Rex seemed perturbed because there was
Tea-time at the B.P. Studios, where George A. Cooper [b Horn,
left) is producing his series of one-reel Quality films. I ■ 0
Dawson (bottom, right) is seen telling the story o] his lift.
OCTOBER 1922
Pictures and ^ictxjKSQuer
T\
no villain for him to use as a punching
ball ; but assured me that cycling was
one of lu> favourite sports, and that
lie had enjoyed himself immensely.
Can anyone really name any form of
sport that isn't one of Rex Davies'
favourites ?
More Animated History.
For his " King Charles II. " in
The Flight of The King, one of the
" Romance of History " series, the
producer, George Ridgewell, chose
Denis Neilson-Terry, who has not
been seen in filmland for a long while.
Denis is also to appear in A Story of
Sell Gwynne, as the Merry Monarch,
and we shall be able to compare his
characterisation with that of his famous
father, P"red Terry, whose Charles II.
is well known to all lovers of costume
romance on the stage. The first film
is mainly fights and flights ; but the
second deals with Nell Gwynne (played
by Sylvia Caine) and the erection of
the Chelsea Hospital.
Surrey On the Screen.
The Boy Scouts at Carshalton had
the time of their lives when some
scenes for ■Treasure Trove, a twelve-
episode comedy-serial, were taken
there. Big Roy Byford and Frank
Stanmore, as " Downe " and "Owte,"
were to be seen every day in full war-
paint : for they play respectively the
" Optimist " and the " Pessimist,"
who are the chief characters. When
some village scenes were made, the
Boy Scouts were reinforced by some
ex-Service men, and the whole town
came out to watch them.
Ann Forrest making-up by the
roadside during the filming of
If Winter Comes."
Our Absentees.
A number of stars spent September,
or part of it, out of England. Matheson
Lang was in Sweden, where he took
kindly to the country and the customs.
He had a great reception there, too,
and especially in the little northern
fishing village where many exteriors
were " shot," and is loud in praise
of his producer, Victor Seastrom.
Then there were Stewart Rome and
Henry Victor, who were literally
" snowed under " in Iceland ; Victor
McLaglen, and Hugh E. Wright
gipsying in Scotland ; and Lois Sturt,
the " Nell Gwynne " of The Glorious
Adventure, was in Venice.
Henry
Victor in
" The
'rodigal
Son."
The Return of the One-Reeler.
Many people, remembering the dayg
when films were one hundred per
cent, entertainment, have sighed for
the return of the one-reeler. Short
dramas have always been popular
with the majority of picturegoers,
and more varied programmes will be
the order of the day at mos't kinemas
in the near future. George A. Cooper,
a young British producer, is specialising
in the making of one-reel dramas
and comedies for Quality Films, I td.,
and his first subjects caused a sen-
sation when trade -shown. Cooper
believes that " the story's the thing, '
and his films, based on the cream of
current fiction selected from " PAN "
and " The 20 -Story Magazine," are
the best one-reelers that have reached '
the screen since I). W. Griffith's
Biograph days. When you see the
kind of story that Cooper can com-
press into a thousand feet of film, you
will realise how much unnecessary pad-
ding the long features of to-day contain.
...
Florence Turner, who is starring in " The Pruning
Knife."
Wireless Wonders.
Captain Calvert, producer of A Prince of Lovers, has
started work on a new picture, which will be entitled
The Scientist. The story deals with a future possi-
bility of wireless — the transmission of vision, and a
specially-constructed instrument, " The Vidascope,"
will be used in the production. It is believed that
" radio-sight " may one day play an important part in
the direction of crime ; and Captain Calvert intends to
probe all the possibilities in his new film. David
Hawthorne has been cast for the hero's role, and
Marjorie Hume will be his leading lady. Frank Dane
is the villain of the piece ; and others in the cast are
F. R. Hignett and Cecil du Cue. The exterior scenes
are being filmed around London and Bournemouth-
42
Fict\iK25 and Hicl-KireOoer
OCTOBER 1922
Mk & Mks. PictuKe^otzK at
Tke Reoerxl". CKelmsFoKd
There is a. symbolism marking
a moving-pictuve milestone in
the impressive marble Hanked
proscenium and spacious bal-
cony and boxes that form
part of the artistic archi-
tecture of the Kegent Kinema,
Chelmsford. I or the attrac-
tive design of the interior of
this popular Essex picture-house holds
a distinct suggestion of an amphi-
theatre of the ambitious type only
formerly associated with real - life
players. It is significant that a
kinema theatre devoted to the screen
reflection of shadow artiste* should
assume much of the architectural
importance of the older type of
entertainment houses. It is an in-
dication that the movies have now
gained a permanent place in the
interests of the public, which has
commenced to seriously rival the
popularity of vaudeville houses and
theatres.
Chelmsford is naturally proud of its
ornate picture-hall, which has seating
accommodation for over one thousand
people. The stage is sufficiently large,
too, to enable a full play or a series of
varieties to be accommodated on it
if necessary. But the patrons of the
Regent are quite content to have the
proscenium filled with the silver
sheet that reflects the pick of the
current releases. If they desire to
see actors or actresses in the flesh,
they want to view in person the
artistes whose shadow forms they
have become familiar with on the
screen.
The domed roof of the Regent
re-echoed with applause recently, when
Mr. Eille Norwood, the .creator of the
screen " Sherlock Holmes," was recog-
nised sitting in one of the boxes.
This was Eille Norwood's first public
appearance at any kinema, and he
was obviously pleased at the recep-
tion accorded him by the Chelmsford
picturegoers. For he was a little
nervous of the venture.
" I feel that an actor ought not to
run the risk of destroying whatever
illusion he may have been fortunate
enough to create on the film by in-
truding himself on the public in his
private capacity," said the Stoll
" star " in his speech. But the Regent
patrons thought otherwise, and ap-
plauded the artistry of the man who,
despite his dissimilarity to Conan
Doyle's famous character in private
life, by ingenious make-up and clever
facial expressions so effectively
radiated from the screen the
fascinating personality of fic-
tion's most famous detective.
The programme- favoured
by the Regent picturegoers
further demonstrate the lean-
ings of suburban and counlrv
town audiences towards films
that screen stories of popular
books. For the comparative
quietude of localities situated
away from the heart of the
Metropolis naturally fosters
reading. Hence this interest
in modern fiction finds a
further outlet in the screen
presentation of characters
whom print has made familiar.
The Regent is fortunate in
the possession of a manager,
in Mr. H. B. Harris, who,
owing to a long association
with the entertainment world,
is able very effectively to
keep his finger on the pulse
of public demand where
amusement is concerned. Mr.
Harris followed the stage as
a career in his eariy days, and
he was a prominent member
of the famous Palladium
Minstrels, who were a twen-
tieth-century reflection of the
Moore and Burgess Minstrels
of our fathers' days. He
afterwards played in the comedies
" The Private' Secretary " and " The
Headmaster."
The management of the Regent have
carried on the Griffith tradition of
recognising the tremendous value of
musical settings in the direction of
providing atmosphere for a film. Mr.
S. Gosling, the musical director, studies
each picture before it is presented,
and adapts musical scores from his
extensive library to blend with the
sentiment reflected from the screen.
The Regent represents an outstanding
example of the artistic development
of moving-picture presentation which
makes the crudities of the kinema
of twenty years ago almost un-
believable. P. R. M.
A scene from the film, " Vice Versa," in
which H. B. Harris, manager of the
Regent, appeared in the role of "Chawner."
Mr. Harris is near-
^B est the camera on
the right.
OCTOBER 1922
Pictures and Picture 0oer
43
Gareth Hughes.
Gareth Hughes, who is featured this month in Sentimental
Tommy, was born at Llanelly, Wales, in 1897. In spite of
his youth, he has had an extensive stage and screen career.
He appeared with Clara Kimball Young in Eyes of Youth.
with Marguerite Clark in Mrs. Wiggs of the Cabbage Patch.
and with Viola Dana in A Chorus Girl's Romance. Other of
his pictures are The Woman Under Oath, The Lure of Youth,
and The Woman Iv His H.qu$q,
meet
5et\ti menial
To mm'
1 first gazed on Gareth Hughes over a littered kitchen
table, and although his laughing brown eyes did not
at that moment suggest his quixotic temperament,
it was his surroundings that betrayed his fanciful
appreciation of life. He had imbued even domesticity
with an unconventional suggestion of artistry. Blue
walls and orange curtains, white enamelled stoves and
^an eighteenth-century bow-legged table, supporting a
twentieth-century rolling-pin, certainly have a touch of
fantasy in a kitchen. That was Gareth's atonement to the
arts for straying into the mundane affairs of cookery. Cookery
is one of his favourite hobbies, but he insists on cooking cab-
bages or cakes amidst an atmosphere of futuristic effects.
He wiped his long, tapering fingers free from baking-powder
and replaced a glinting amethyst ring on his right hand as a
preliminary to shaking hands. Baking-powder and barbaric
jewellery, this boy with the credulous, eager expression of
youth was a continual contradiction.
" I had that made for Sentimental Tommy," he explained
noticing my scrutiny of the huge jewel.
He eyed it- himself with the proud expression of a boy
displaying a particularly coveted specimen of glass marble.
Then the swift, transient suggestion of irresponsible youth
passed. He became the grave, thoughtful philosopher.
" I often think that there is such a thing as reincarnation,
and that I in some former life was a priest," he said, with a
shy smile. " I love jewels that suggest resplendent altar-
cloths and stained-glass windows. One day I shall fit up one
of my rooms as a cloister."
It was easy to realise why Cecil B. De Mille called Gareth
Hughes the " young idealist." Yet there is nothing solid
or tangible in this description of the puzzling Metro " star."
For Gareth's mind flits from one mood to another like a
butterfly. He is a swift series of character studies, each
one, despite its transience, being very convincing whilst it
pleases him to adopt each individual pose.
" What would you like me to talk about ? " he asked
suddenly, as we left the blue-and-orange kitchen and passed
along the corridor that led to his den, with its tiger-skin
rugs and silk-covered divans.
The question struck me as being humorous.
It would have been as sensible to have asked Don Quixote
to have postponed his tilting at windmills until he had as-
similated the riding-school technique of a lancers' sergeant-
major, as to endeavour to bind Gareth Hughes down to any
detailed line of thought.
" Your past experiences on the films and your future
ambitions," I suggested, with the realisation that whatever
I said could not stem his swift, ever-changing flow of con-
versation and direct it into any special channels.
He had forgotten his question almost as soon as he had
spoken.
Crossing to a gleaming piano of polished mahogany, he
commenced to play softly.
He chattered as he played, for this versatile young man
has no need to concentrate on a musical score. He never
44
Pictures and Picture Qoer
OCTOBER 1922
learned music, l>ut played naturally
from his earliest bo_\ hood.
" Do you recognise this old Welsh
air ? " he said. " 1 learned it when
1 was a boy living in the Welsh hills
where I was born. That was twenty-
three years ago."
As his fingers strayed over the keys
he became reminiscent, and told
me that acting first claimed him when
he was fourteen, and he appeared on
the stage in Wales. Then, with the
Welsh Players, he went to London, and
later to New York. In those days his
prominent stage successes were" Little
Miss Llewellyn," " The Joneses,"
" Dark Kosaleen," and " The Change."
He was serious when he spoke with
pride of having created the role of the
young son in J. M. Barrie's " The New
Word." A moment later his thoughts
Hashed off at a tangent.
" Have you seen J. M. Barrie ? " he
asked suddenly, his customary shy
smile breaking into a happy grin.
I confessed that I had not met the
famous creator of Peter Pan, the
immortal character whose lovable
spirit of boyhood is so largely reflected
in Gareth Hughes.
" Then you must meet him now,"
said my mercurial host, emitting a
shrill whistle.
A shaggy-coated Airedale lumbered
into the room and thrust a friendly
damp nose into my hand.
Gareth explained that he called this
intelligent canine "Barrie" because, de-
spite the fact; that he played in many
film pictures before he starred in
Sentimental Tommy, he always regards
the latter picture as his first big
chance on the silver sheet.
When "Barrie" had comfortably
curled himself up on Gareth 's immacu-
late knees, my host told me of his early
days before fame came to him in the
early twenties, and a fortune sufficient
to build his picturesque house in the
wooded Laurel Canyon of the Califor-
nian hills and to house two splendid
cars in the garage adjacent to his home.
Gareth has the power to forcibly
convey to his listeners his mood of
the moment, just as he radiates
emotions from the screen.
The wistfulness in his searching
brown eyes inspired my sympathy as
he related how he had known poverty
in his early days in New York.
" 1 have known what it is to starve
in a garret," he confessed.
J looked at his carefully polished pink
finger-nails, his modish, immaculate
clothes that revealed the sybarite, and
realised that beneath his effervescent
nature there was strength of pur-
pose that had lifted him to success,
despite the despair that privations must
have brought to one so intolerant of
poverty.
" At first 1 played small parts in the
film studios, but I was always con-
fident that fame would one day come
my way. My first real screen part was
in Mrs. Wiggs of the Cabbage Patch,
with Marguerite Clark ; and Eyes of
Youth, in which I played with that
incomparable artiste, Clara Kimball
Young, was another early milestone
Jn my career."
Your favourite screen artiste ? " 1
queried, his enthusiasm in the direction
of " Clara Kimball " inspiring my trend
of thought.
Ben Turpin," said Gareth un-
hesitatingly.
1 gasped and studied his serious face
for the flicker of humour that I felt
sure would be there. He was joking,
I imagined.
His next sentence swept aside my
doubts.
Ciareth Hughes as " Sentimental Tommy."
" I think he's great," enthused
Gareth, bending forward in his chair, .
with disastrous results to the som-
nolent " Barrie," who fell a disgruntled
heap on to the onyx and silver
carpet.
" I went to see A Small Town Idle
seven times because he was so funny
in it. Yet I am not in love with
pictures generally. Sentimental Tommy
is the only one in which I appear that
I have seen from beginning to end."
I settled back on the orange cushions
of Gareth 's comfortable divan, and
let the probing art of the interviewer
look after itself. This irrepressible host
of mine was far more entertaining and
surprising when he was left alone to
go his own way.
" Lasky's sent for me to come to
New York to star in Sentimental
Tommy," he told me. " At that time
1 was Viola Dana's leading man, and
I played in A Chorus Girl's Romance,
I ife's Darn Tunny, and The Lure of
Youth.
Garments <>! Truth and 'The Hunch
followed after that, and shortly I am
starting work on Kick In with May
McAvoy, Bettv Compson, and Bert
Lytell.
May McAvoy and I are great
friends. We both had our big chance
together in Sentimental Tommy, and
that has inspired a happy comradeship
between us."
' They say," 1 interrupted, " that
you are a woman hater."
Gareth raised his slim hands in
laughing protest.
" Never. In fact," he added in a
stage whisper, " I am searching for a
wife. I am sufficiently an idealist to
know that marriage is a great influence
for success" in a man's life if he finds the
real happiness that the right woman
can bring."
I appreciated the desire for secrecy
that his lowered tones suggested.
Were the world to know that hand-
some, lovable Gareth Hughes was
looking for a wife, he would be
swamped by letters from hopeful
applicants for the coveted position.
" If I have any difference with the
opposite sex," admitted Gareth, offer-
ing me a gold-tipped cigarette on the
side of which were his initials fantas-
tically engraved in gold, "it is my
belief that the role of Peter Pan should
never be played by a woman. The
portrayal of appealing, lovable youth
should essentially be the task of a man.
And I am going to run the risk of
appearing to be biassed by saying that
I am very anxious to play that part
myself either on the stage or screen."
" The stage," I re-echoed. " You
think that you are likely to return to
the theatre ? "
Gareth lapsed into yet another of his
changing moods, and momentarily the
mask of eager boyishness fell from his
face and he became the inscrutable,
serious, professional man of the world
with blaseness reflected in his big
brown eyes.
" Soon I expect to go back," he
admitted. " Arnold Daly has asked
me to play Hamlet, and I am anxious
to play David Copperfield, Dorian
Gray, and Pendennis."
That he is a child of intellect is even
more accentuated when Gareth
Hughes's finely chiselled features are
at rest in his fleeting serious moments.
He has the arresting, reflective eyes of
the thinker. His high, broad forehead,
with its perfect curve from his nose to
where his thick brown hair sweeps
across his brow, suggests the fertile,
creative brain that lies beneath.
His lithe and graceful figure has that
broadness of shoulders and slender
waist that, in addition to suggesting
youth, enables him to wear the most
Bohemian dress with distinction. Even
in the rags of a tramp in his clever
characterisation in The Hunter he had
a certain grace of movement and
gesture.
Yet Gareth confessed that he seldom
indulges in athletics to keep himself fit.
OCTOBER 1922
Pictures and Picture $oer
45
" Keeping lit for me means being
able to work unceasingly for sixteen
hours at a stretch. I can't do it if I
wear myself out completely at sports.
I find the mental stimulation of great
literature more necessary," he solilo-
quised.
Before I left Gareth took me around
his quaint garden, and showed me the
enclosed porch with its silent pool of
floating water-lilies where he sits and
evolves his new screen characterisa-
tions.
It is here that he has read William
Shakespeare until he has a surprising
knowledge of the works of the famous
bard.
To one so highly strung and recep-
tive where the influence of individuals
and surroundings is concerned, it is
not surprising that Gareth Hughes
admits that he is very affected by
the " atmosphere " of a scene when
he is playing before the cameras.
" The quaint picturesque village
of ' Thrums,' which was especially
built for the filming of Sentimental
Tommy, was a great inspiration to
me," Gareth told me. " Somehow, it
seemed to have caught the spirit of
the story, and to reflect the simple,
unaffected outlook of the human
Scottish characters figuring in Barrie's
book. I felt myself living in the part
that I was playing, with the quaint
tiled cottages and narrow, twisted
streets of Thrums as a background.
" It may sound like idealism,"
added Gareth, with sudden serious-
ness in his fine eyes ; " but I believe
that the great improvement of recent
years in the artistic creation of studio
sets has helped to uplift the acting
of the artistes. It is possible to throw
yourself enthusiastically into a part,
and enact characters that are not
part of one's real personality, if you
are acting amidst realistic ■ scenic
effects on the production of which
any amount of time and labour has
been expended.
" I am a devout admirer of those
pioneers of the pictures who en-
thusiastically mimed before crude
painted canvas on wooden platforms
with only the sun to illuminate
the scene. Such conditions must
have been very trying, and they
demanded the best in an artiste, who
had not the inspiration of lavish
scenery and flattering arc-lamps."
Then Gareth betrayed a secret
which may to some extent help to
explain his puzzling temperament.
" Do you think that I am affected ? "
he asked, with embarrassing direct-
ness, studying my face
as he spoke.
I protested politely against any
such suggestion.
" I am afraid that T lay myself
open to such criticism," went on
Gareth, slowly ; " for I admit that I
go on acting after I have left the
studios. It is a theory of mine that
an actor should continue to perfect
his art by continually pretending to
be someone other than his real self.
" For example," he said suddenly,
with a characteristic smile playing
round his mobile mouth, "at the
present moment I confess that I am
really worried and a little frightened
at being interviewed. I am just
trying to act the part of a motion-
picture star who is a little bored at
having to grant an interview, but is
submitting to it only for the benefit
of the picturegoers who wish to hear
something about him.
" Since K you arrived, I have kept
saying to myself : ' Gareth, you're
an important personage, and people
will be hanging on your words.'
" You see," added my youthful
host with naive frankness, " I have
been convincing myself that it is
true for the time being, so that I can
talk to you and forget my usual
shrinking, timid self.
" I play at being an actor all the
time. I am sure that has given me a
deeper sympathy with the characters
that I have portrayed on the screen.
I feel that way over ' Sentimental
Tommy ' and ' Lester Crope ' in
Garments of Truth — both character-
studies of youngsters who, through
force of circumstances, were obliged
to act parts outside of themselves."
Gareth Hughes is a remarkably
serious young man when he commences
to delve beneath the surface of things.
Psychology, I discovered, was his
favourite study, and it provided con-
siderable recreation for him during
the frequent occasions when he went
into quiet retirement with his beloved
books.
Books will not teach you a great
deal about human nature," Gareth
told me ; " you have to study the real
thing if you want to reflect on the
screen human nature as it really is.
" I spent days and the best part of
several nights down in the ' Bowery '
quarter of New York not long ago
studying the underworld and its
human derelicts.
I was assimilating knowledge for
my screen portrayal of the part of
the tramp in my film play, The
Hunter. Of course, I was not dressed
like this," he laughed, indicating his
immaculately cut morning suit. "An
old - clothes shop provided me with
the requisite shabby costume and
two weeks' growth of beard com-
pleted my disguise.
I wore the actual clothes in which
I masqueraded in The Hunter. That
was probably the most economical
suit that I have ever appeared in
before the cameras."
Gareth Hughes has a peculiar gift
for one possessed of an imaginative,
creative mind. He has the power to
assimilate detail and store it in his
brain, despite his vivid mentality
which flits from widely diverse subjects
with such lack of effort. He suggests
the unusual combination of a shrewd
business man and
an imaginative
dreamer.
He talked
of his visit to
Mexico, to
46
Pictures and Pict\jre$oer
OCTOBER 1922
which country he journeyed for the
filming of Stay Home, and his vivid
descriptions of the South American
landscape and wonderful sunsets and
clear warm nights were those of an
artist, word-painting on a mental
canvas. Yet he retained remarkably
insignificant details in his mind con-
cerning that visit. He told me how
he stole into a Mission Church where
Mass was in progress. He described
minutely the picturesque costumes of
the women worshippers with hand-
kerchiefs on their heads, and he
dwelt on the bizarre appearance of
the altar boy devoid of vestments,
and who was barefooted and attired
in a pair of ragged breeches and a
torn shirt.
He had found time to study human
beings, as is his custom wherever he
goes, although in Mexico he was
filming hard all day, and studying
the script of a later picture, Don't
Write Letters, when away from the
studios.
With wistfulness in his brown
eyes, Gareth talked of Wales, his
native country, as we sipped tea
brought to us by a kindly -faced
housekeeper who " mothers " her
irrepressible master, although it was
confided to me that she had only
been in his service for a few weeks.
For Gareth has the refreshing appeal
of youth in his likable personality,
and those who have felt the influence
of his whimsical, lovable character,
which he so effectively radiates from
the screen, will understand the feelings
of that motherly housekeeper.
Gareth was born in Llanelly, and
he has all the typical love of the
Welshman for his own country. He
is inordinately proud of the fact
that Lloyd George came from Wales.
Soon he is going to re-visit the land
of his fathers, when his long-delayed
vacation becomes a reality.
The practical jokers of the Metro
studios revel in circulating rumours
that Gareth is getting married. And
because, with the wealth that he
has amassed from the stage and
screen, and his extremely attractive
looks, there are always many of the
fair sex ready to take an interest
in any intriguing matrimonial rumours
that are associated with one of the
most eligible bachelors in the moving-
picture colony.
" It was actually reported that
I was honeymooning at the Samarkand
Hotel, the hostelry for newly-weds
at Santa Barbara, California," Gareth
related to me, with a chuckle.
" I happened to be staying there
for a few days, and some humourist
took the opportunity of pulling off
a practical joke.
" My director swallowed it, and
wired me for confirmation of the
report. I wired back: 'Not honey-
mooning. Have a fine moon, but
no honey.' "
It may be that Gareth has some
hidden romance which he ha"s not
revealed to the curious world. When
he talks of the happiness of an ideal
marriage, and confesses that often
he is very lonely in his bachelor
walk of life, one wonders if some-
where away in the Welsh hills there
is a memory which he carries in his
heart.
" I would like to be married in
Wales if I ever did contemplate
matrimony," he confessed, and there
was a far-away, reflective expression
in his big brown eyes as he spoke.
When Gareth insisted that I should
come with him and inspect the
stables adjacent to his picturesque
house, where he keeps his mounts,
including his first favourite, " Dyna-
mite," who has appeared with him
on the screen, I saw another phase
of the youthful star's character. He
is devoted to horses, and spends
much of his spare time in the saddle.
But it is the extraordinary under-
standing that he has of his animals,
and the almost affectionate manner
in which they press their noses
against his delicate hands, that leaves
a greater impression than his ob-
vious enthusiasm where horseflesh
is concerned.
I left him gazing thoughtfully at
the shadowed pool, softly singing the
lilting words of a new Broadway fox-
trot. Shakespeare and Jazz, cooking
and cloisters — I reflected as I made
my way back down Gareth 's wooded
drive. Would anyone ever under-
stand this lovable, human will-o'-the-
wisp from the Welsh hills ?
A view of " Thrums " during the filming of " Sentimental Tommy." John S. Robertson, the producer, is seen chatting with
May McAvoy and Gareth Hughes. , ^ ^ .
OCTOBER 1922
Pictures and Picture Over
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OCTOBER 1922
P/cfx/res and Picture Ooer
49
There is a well-substantiated
rumour that Mary Pickford
has secured the film rights
of the story, " Dorothy Ver-
non of Haddon Hall," which
has had a chequered career
lately in the market where
thousands of dollars are bar-
tered for picture rights. Ori-
ginally Lady Diana Duff Cooper was
to have played in a screen version of
the story directed by Stuart Blackton,
but this project has since been aban-
doned. The price paid by Mary is said
to be the highest sum offered for a
film story this year. There is an
English flavour in the story of Dorothy
Vernon of Haddon Hall. Lady " Di "
claims that Dorothy Vernon was an
ancestress of hers, who married Sir
John Manners after a romantic elope-
ment, and this episode founded the
house of Manners. Mary would seem
to be favouring screen presentations
of English characters, for, if rumour
is correct, she has decided to appear
as " Lady Vernon " close on her
film reflection of
leroy."
Little Lord Paunt-
A
of
l'.nlisli
Picturf.gokr romance revolves
around the recent marriage
Mercy Hatton, the popular
film star, ami P. Kussell.
Mallinson. A little more than a year
ago, Russell Mallinson, whose name
is well known in connection with
articles and stories in the " Picture-
goer," interviewed Miss Hatton in
order to write her screen experiences
for this paper. This chance acquaint-
ance ripened into friendship, and a
few months later, an engagement fol-
lowed, which was terminated when
the happy pair were married recently
at Christ Church, Mayfair. Miss
Hatton, who is a pretty blonde, has
played leading parts in Beau Brocade,
The Laughing Cavalier, Her Son, A
Sportsman's Wife, Master of Craft,
Christie Johnstone, and other British
screen productions. Mr. and Mrs.
Russell Mallinson spent a river honey-
moon at Datchet, where thev had
the unique experience of receiving
wireless wedding congratulations at
the Manor Hofel, radioed by the
editorial staff of the popular wireless
monthly, The Broadcaster.
An increasing number of famous
American screen stars are tem-
porarily deserting their first love,
the fijm colony at Los Angeles, and
travelling across the Atlantic to figure
in productions abroad. Wyndham
Standing, of F.arthbound fame who
is now appearing in a current release.
Smilin' Through, with Norma Tal-
madge — has arrived in Holland in
company with Margaret Marsh, who
has co-starred with Dustin Parnum,
Herbert Rawlinson, and with Lionel
Barrymore in Boomerang Bill. These
two screen favourites from across the
Herring Pond " are starting work
immediately in Holland, in The Lion's
Mouse, a story adapted from the
well-known novel. All of which is
another indication that the time has
passed when America represented the
main field for picture production,
which is rapidly becoming more inter-
national in character.
A barrage of cameras recently
penetrated into the sombre
precincts of the " C'ercle Francais
in Xew Vork, an institution which
has a wonderful collection of French
prints and etchings. This invasion
was carried out for the purpose of
photographing valuable drawings and
paintings which would provide for the
Fox super-film, Monte Crista, details
of the costumes and customs in vogue
during the Dumas and Napoleonic
periods of French history. This is a
new phase of the extensive and pai
taking work which now lies behind
the presentation of historical pictures,
which in t liese da vs of cril ical audiem i «
50
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You have only to dissolve a small handful
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and rest your feet in this for a few minutes.
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Phyllis Monkman says saltrated water is
wonderful. The medicated and oxygenated
foot bath prepared by adding Reudel Bath-
Saltrates has a truly marvellous curative
action upon all kinds of foot troubles,
immediately relieving them, even in their
worst forms. Every sensation of burning,
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and inflammation ; any sort of corn, callous,
or other foot torture, will soon be only an
unpleasant memory of the past. Merely
cutting the top off a corn with a razor, or
burning it off with caustic liquids, plasters,
etc , 'is about as logical as cutting the top
off an aching tooth, and is simply a waste of
time. Also it hurts, and is dangerous.
Millions of packages of Reudel Bath
Saltrates have been sold, every one con-
taining a signed guarantee to return money
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Pictures and Pict\jreQoer
have to follow
closely the records
of legend and cus-
tom. From the
ancient prints,
models of houses
and streets were
built in the studios,
from which the full
sized spectacular
sets were later con-
structed. The ward-
robe mistress had
to design most of
the costumes for
the half-million-
dollar production,
Monte Cristo, from
the apparel figuring
in faded prints.
Elaborate ar-
rangements,
which included a
tour through
England on a rose-
garlanded special
train, were made
to welcome Con-
stance and Norma
Talmadge when it
was announced that they were to
visit this country. At the moment,
however, they have sacrificed their
good time amongst their British
admirers in order to remain at the
bedside of a dying school friend in
Paris. Had the preliminary plans
not miscarried, Norma Talmadge
would have made a personal appear-
ance before the screen in the kinemas
showing her latest picture, Smilin'
Through. This is the film wherein
Norma appears in a wedding gown of
the 'sixties ; and in order to go back to
the small-waisted figure so dear to
our grandmothers, she had to reduce
her weight twelve pounds, so that
she could squeeze her waist into the
tight-fitting, pointed bodice of that
period.
Slowly, but surely, the kinemas in
London and the big provincial
cities have been challenging the
theatres where popularity is con-
cerned. Now leading picture theatres
in the West End of London are
making the interesting experiment of
abolishing the customary programmes,
and substituting big feature films,
which are shown once or twice nightly.
The success of this innovation, sug-
gests that it has struck the right
note in public taste. The Birth of a
Nation, The Storm, The Four Horse-
men of the Apocalypse, Norma Tal-
madge's latest picture, Smilin' Through,
Nanook (the screen story of life and
love in the Arctic), are some of the
attractions which are filling the
London kinemas. A great advantage
of the one-feature programme is that
it obliterates the annoyance of drop-
ping into a kinema in the middle of
the principal picture of the evening —
a frequent occurrence, which is like
starting a novel in the middle, reading
OCTOBER 1922
An interesting group taken at the wedding of Jack Pickford and
Marilyn Miller. The bride is seated between Douglas Fairbanks
and Charles Chaplin.
it to the end, and then going back
to the beginning.
Gloria Swanson's new picture, Her
Gilded Cage, which Paramount
recently released in America, is remin-
iscent of the exotic screen vehicles of
Mae Murray. Gorgeous Gloria charac-
terises the role of a French singer and
dancer who appears on the stage in a
blaze of splendour, beautiful gowns,
and settings of marble and fine gold.
Her rise from a poor unknown cabaret
dancer to the dizzy heights of his-
trionic success provides her with an
opportunity of contrasting her former
back-attic poverty with the cham-
pagne suppers, rose-garlanded bou-
doirs, and silks and satins of her
attire, all of which come her way as
a pampered pet of the public. Gloria
has long complained that her magni-
ficent screen dresses have tended to
create the impression that she is an
animated screen fashion-plate rather
than an actress. Perhaps this is the
reason why, in the concluding reels
of Her Gilded Cage, the Paramount
star is given an opportunity of dis
playing her undoubted talent as an
emotional actress when she becomes
an idealistic woman, and lives a life
of self-sacrifice for the sake of an
invalid sister.
The extraordinary imaginative story,
" The Young Diana," in which
Marie Corelli traces the rejuvenation
of a middle-aged woman into a girl
of enthralling beauty by means of a
chemical process discovered by an
unscrupulous professor, has just been
filmed. Produced by Paramount, with
Marion Davies in the title-role, the
picture has an unusual combination
of the uncanny, and the artistic effect
of gorgeous gowns and resplendent
•it
l
Ski
- Ik
OCTOBER 1922
Pictures and Ric/-\jreOoeK
surroundings. Apart from the human-
interest story which vibrates the
chord of desire in every woman to
know eternal youth and beauty, The
Young Diana is an interesting demons-
tration of camera-craft and the art
of make-up. For Marion Davies,
through clever artifice, suggests the
plain, middle-aged woman in the
early stages of the film ; and as the
" magic potion " enters into her
blood, she develops into a girl of
dazzling beauty.
Maurice Tourneur recently came
to this country to film ex-
terior scenes for The Christian, on
the actual spots mentioned in Sir
Hall Caine's book ; but he has not
kept his promise to screen Lorna
Doone amidst the actual Devonshire
scenery figuring in the story. The
film version of " Lorna Doone "
which Tourneur has completed in
America is shortly to be shown on
the other side of the Atlantic ; but the
red cliffs and verdant slopes of
Drake's country will not be in evi-
dence. It can be safely prophesied
that Tourneur has secured the atmo-
sphere he requires without visiting
Devonshire, for he is a master of
screen illusion, and he possesses
amazing patience. When he was
filming Deep Waters, he once waited
eight weeks to secure under-water
scenes which took only a few hours
to film, and lasted for four minutes
on the screen.
It was Elinor Glynn who recently
declared that it was impossible
for a husband to direct his wife suc-
cessfully on the screen. The famous
authoress is of the opinion that it is
not human nature for a man to force
his wife into the arms of an Adonis
day after day without getting jealous.
This theory was shaken to its founda-
tions, however, in the First National
studios recently, when R. A. Walsh
was directing his wife,
Miriam Cooper, in Kindred of
the Dust. The director was
raging on the set because his
wife was not kissing the hand-
some leading man with suf-
ficient realism. And when he
did secure the right effect,
he shouted enthusiastically,
"Great! — hold that now. Kiss
her again. Close your eyes.
Make it dreamy I " Like
many other husbands and
wives of filmdom who work
together beneath the studio
arc-lamps, Miriam Cooper and
her husband are too
happily married to
let jealousy interfere
with the mechanical
task of engendering
flicker love into roman-
tic scenes before the
cameras.
Bull Montana has
been visiting
his home town in
Voghera, Italy, where seventeen years
ago he relinquished his job as a labourer
in a stone quarry, and set out in search
of picture fame, which he found in
Hollywood. Bull, with characteristic
light-heartedness, "painted the town
red " by liberally patronising every
store and distributing largesse in the
streets to the poor inhabitants. Mon-
tana, before he set off on his long
trek back to America, bought his
father — a hale old man of seventy — a
motor-car. But Montana senior re-
fused to ride in it, so Bull presented it
to one of his old school-fellows. The
Metro star left his old people happily
installed in a comfortable new house
lavishly furnished in the style with
which he has become familiar in the
Californian bungalows
If you would like to learn all about
the British film stars and the
latest news concerning English screen
productions, you will find the bright
weekly, The Motion Picture Studio, an
especially interesting publication. It
reflects the activities of the British
film world, in fascinating articles,
intimate gossip and exclusive photo-
graphs. You can learn all there is
to know about the big studios in this
country and gain a peep behind the
screen which will tell you how movies
are created. Famous " stars " con-
tribute to The Motion Picture Studio,
and all the news of new British films
in course of production or nearing their
release dates is included in this informa-
tive and interesting journal for the
cost of twopence. If you wish to write
to your favourite British «tars, you
will find their add/esses in The Motion
Picture Studio, with details of their
latest films. British pictures are gain-
ing a higher position in the film world.
If you order a copy of The Motion
Picture Studio from your newsagent
you will keep in touch with the
developments of film producing in
your own country.
Russell Mallinson, of " The Picturegoer," honey-
mooning with his bride, Mercy Hatton, at Datchet.
,j»^/
Alike to the expert in gems and to the
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Made in various tints (rose, cr£me-rose and
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18 in. long ^knotted) 5/- extra.
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uney
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ICLEANS THE TRAP X, PIPE I
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If you want perfect EYEBROWS
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52
Pictures and Picture poer
OCTOBER 1922
Reflecting the wisdom of /Esop on the screen
represented a colossal amount of work. Thousands
of separate pictures had to be drawn by the artist
and laboriously photographed. Every movement,
however slight, represented an alteration in the
drawing. The lifting of an eye-brow, or the shuffle
of a foot, each had to have a series of pictures to
demonstrate the movement for the cameras.
For clever cartoons of this description have, of
necessity, to be slowly constructed by hand. The
pen of the 'artist adds lines and obliterates others
with confusing frequency, and all the time the
cameras with the celluloid retarded in the velvet-
lined slots, have to photograph the drawings one
by one. It is very laborious foolery. To photo-
graph a scene that remains for less than ten
A spirited scene from " The Micv at War.
ANmatiiA^
M r /^esop
I ^ TThen, over two thousand
\ f\ I years ago, the patri-
^U ^J archal JEscrp spake his
* immortal fables in the
Courts of Croesus, he
little dreamed that twentieth-century film-craft would
animate the creations of his whimsical brain. Yet the
screen now reflects, in cartoon-comedy form, the sayings
of the ancient scribe. /Esop's Fables have remained
famous through the generations, and they have been
translated into every human tongue, ranging from
Hebrew to Hindustani. But the universal language of
the screen has expressed their truths and humours more
effectively than the parchment scrolls of the Egyptians
or the vellums of Asia Minor.
Paul Terry, the well-known cartoonist, has enabled
the human characters of /Esop to flicker into life. One
sees the traditional failings and humours of the droll
people around whom iEsop evolved his clever stories of
human error. The scribe is not likely to revolve in his
ancient grave on account of the liberties that have been
taken where the introduction of irresistible humour into
the screen version of his stories is concerned. Legendary
history describes ^Esop as a Slave of Phrygia, physically
deformed, but possessing a super-intelligence and wit.
He was the earliest of Court Jesters, and were he alive
to-day, he would undoubtedly have produced some
witty sub-titles for his film fables, and have thoroughly
enjoveil writing them.
iEsop has reached the movie screen in a new
series of animated cartoons released by Gran-
ger's. They are indeed " Fables Without
Tears " — at least, the only tears connected
with them are tears of laughter.
minutes on the screen, necessi-
tates a process extending over a
number of weeks. There are
over two thousand separate
sketches in every hundred-and-
fifty feet of film.
This intricate work is justified by the fact that the
artist who produces ludicrous screen figures can sweed
them into all manner of humorous situations with the
strokes of his pencil. Xo human being could ever hope
to compete with the droll expressions and amazing
mannerisms which the artist engenders into his shadow
creations.
And he produces weird animals, the like of which
have never been seen in a " Zoo," neither did they
figure in Noah's mobilisation in the Ark. The nlnv
cartoonist has brought to the screen a grotesque new
race of people and animals, which compete with the
best efforts of screen comedians in extending a grin
throughout the world.
./Esop's Fables, as Granger's are producing them on
the screen, are aptly described as " sugar-coated pills
of wisdom." Their wisdom is very cleverly reflected by
a process of modernising each fable. After each story
has flickered across the silver sheet, humorously reflected
by characters associated with .Esop's philosophies, a
twentieth-century version of the fable follows.
It is here that one realises the fundamental truths
which lie behind the savings of the hunchback of Phrvgia.
*
OCTOBER 1922
Pictures and Pict\JKe0oer
53
For, present his stories with chara< ters attired in the
flowing garments of the ancients, or through the medium of
modern ' folk as we know them to-day, the weaknesses of
humanity are just as cleverly laid bare. The screen is
proving that /Esop's Fables are immortal, for they are
founded on that never-changing quality- human nature.
The screen versions of .Esop have, strangely enough, solved
a problem which confronts most producers. That is the
presentation of screen entertainment which appeals to both
jld and young. The child chuckles at the droll antics of
'-he cartooned characters and animals ; whilst grown-ups,
n addition to enjoying the humour, appreciate the signi-
ficance underlying the antics of the grotesque forms on the
^crcen.
The series of /Esop's Fables to be released by Granger's
nclude The Mice at War, The Hare and the Frogs, The Con-
ceited Donkey, The Lion and the Mouse, and The Wolf and
he Kid. They are released at the rate of one a week.
There is much in /Esop's Fables, when they are animated
lor the films, which suggests something of the clever wit
ind irony that figure in many successful modern plays.
ror /Esop, with all his sly
mmour, was no fool. Crcesus,
he King of Lydia, sent him
.s his ambassador to India,
diere the patriarch so offended
he people with his clever but
harp tongue that they threw
im into the sea. When /Esop's
•preened fables reach India's
bral strand, the people of
rat clime will, no doubt,
>rget their traditional griev-
nces, and acclaim the patriarch
i p one of the greatest humour-
ts that the screen has dis-
4 bvered.
Paul Terry, the clever car-
lonist whose creative work
as had much to do with the
tccess of the animated version
" The Wolj
and the Kid."
scene from " The Conceited Donkey.
of Mr. /Esop, is especi-
ally skilled in extracting
humour from the droll
animals that he has
brought to the screen.
He discovered the hu-
morous possibilities of
animals in a curious
way.
Some time ago, whilst
watching an interest
film, a series of camera
studies of inhabitants of
the Zoological Gardens
flashed on the screen.
The occupants of the
cages were being filmed
in order to demonstrate
the effects- of music on animals.
The droll grimaces and queer mannerisms of the various
species caused roars of laughter, and the cartoonist realised
that there were many animals who had a natural screen
personality where the making of humour is concerned.
It was a simple matter for him to exaggerate the drolleries
of the real life members of the zoological kingdom when
he got to work with his facile pencil. The results of his
observations and studies figure in the screen reflection of
/Esop's Fables.
Paul Terry has created a new form of humour in the
droll animal which possesses a human sense of the ridiculous.
To see the precocious mouse, armed with a comic saw,
severing the bonds of an aggrieved and angry lion, or the
leering wolf making a distressed goat dance to the tune of
its pipes, presents an irresistibly funny combination of
the natural slyness of animals and the queer side of human
nature. These little wonder films are filling the picture
houses with laughter all over the country, and they will
continue to do so for months to come. There are fifty-two
subjects in all, and every one is as good as every other.
You should certainly ask the manager of your local cinema
when he is going to show ^Esop's Fables. d.r.m.
54
Pictures and PicfureOoer
Pictur?£oers Guide
■
-
William Duncan and Edith
Johnson in "Where Men
are Men."
Ashamed of Parents (Pearl; Oct. 16).
Just the sort of film that one would
expect with this title. The sentiment-
ality is relieved, however, with some
effective quiet humour, and the acting
is good. The cast is composed of Silas
Wadsworth, Arthur Wadsworth,
Marian Hancock, Albert Grimes, and
Peter Trot wood.
Beautifully Trimmed (F.B.O. ; Oct. 16).
An excellently produced film with
wretched story material — the sort of
story in which nothing ever happens.
The settings are wonderful, the lighting
effective, the production skilful, and
the acting good — that is all. Carmel
Myers stars, and is supported by Pell
Trenton, Irving Cummings, Alfred
Fisher, Victory Bateman, George B.
Williams, Lee Kohlmar, Herbert
Bethewj and Myrtle Reeves.
A Broadway Cowboy (General ; Oct. 16)
Pretty poor stuff. Cowboys, sheriffs,
revolvers, buck-jumping, bronchos,
and the usual Wild and Woolly
West material are called into service
to relieve a feeble story and to hide
the absence of real characterisation.
William Desmond does his best with
such poor material, and the outdoor
effects are very good. In the cast are
Thomas Delmar, J. P. Lockney,
Clarke Comstock, Paddy McGuire, and
Betty Francisco.
Bluff (Gaumont ; Oct. 30).
Here is one of the best British pro-
ductions offered this year. It has been
produced by Geoffrey Malins, who has
just been engaged on the World Flight
with Major Blake, and who became
famous for his hypnotic methods in
film-producing. There are some grip-
ping dramatic moments, and delightful
passages with charming Marjorie
Hume as the heroine. Lewis Wil-
loughby plays opposite her.
Charge It (Gaumont ; Oct. 2).
A well-produced, well-acted photo-
play, with Clara Kimball Young as
the central figure. It is a social drama
with a rather melodramatic flavour,
and an intriguing love story with a
wonderful display of gowns. Betty
Blythe, Herbert Rawlinson, Nigel
Barrie, and Hall Wilson are also in
the cast.
The Critical Age (L.I.F.T.; Oct. 30).
A very well produced Italian picture
with a story that has been well handled
and which presents a very interesting
problem. The acting is not as exager-
rated as Italian actors usually submit,
and the dramatic suspense is excellent.
Pina Menichelli gives a perfect per-
formance as an irresponsible young
girl, and the rest of the cast is good.
A Doll's House (Allied Artistes :
Oct. 9).
The incomparable Nazimova plays a
wonderful part in this film version of
the Ibsen play. Fortunately, a happy
ending has not been forced on to this
story, which is of enthralling interest.
The film has been cleverly produced,
and Nazimova has a well selected
supporting cast, including Alan Hale,
Nigel de Brulier, and Elinor Oliver.
Down Home (W ardour ; Oct. 5).
A mediocre film. Crude comedy
rubs shoulders with melodrama and
romance, and the whole is bound
with religious sentimentality laid on
thick. This drawn-out story becomes
wearisome, and has very little dramatic
value. The acting is good, with James
O. Barrows, Edward Hearn, Aggie
Herring, Leatrice Joy, Edward Noland,
William Robert Daly, Sidney Franklin,
OCTOBER 1922
Ben Hartley, Frank Braidwood,
Robert Chandler, and Nelson McDowell
in the cast.
The Freeze Out i F.B.O. ; Oct. 2).
This has a distinctly propagandist
flavour ; but that is not its only
defect. Its action is slow (despite
" shootings up " by revolvers), and the
characters are quite uninteresting.
The heroine is made to mouth Pro-
hibitionist propaganda every time she
speaks, while the attempts at humour
are puerile. Harry Carey, as the star,
acts convincingly ; and the rest of the
cast — Helen Ferguson, Joe Harris,
Charles Le Moyne, J. Farrell
McDonald, and Lydia Yeamans Titus
are good.
The House of Whispers. (W ardour ;
Oct. 28).
That popular screen hero, J. Warren
Kerrigan, stars in this excellent photo-
play, which is founded on a very
ingenious plot. The suspense is well
maintained, but the' secret is revealed
too early — or else the picture is too
long in ending. The star is supported
by Joseph J. Dowling, Fritzi Brunette,
Marjorie Wilson, Myrtle Rischel, Her-
bert Prior, Myles McCarthy, Claire
Dubrey, and Fred C. Jones.
The Jack-Knife Man. (Moss ; Oct. 2).
This is a very pleasing entertain-
ment based on a very quaint old man
and a little boy, and their affection for
each other. The human interest is
very strong, and the humour of the
homely type. Fred Turner as the old
man and Bobby Kelso as the boy
are supported by Harry Todd, W'illis
Marks, Lillian Leighton, James Corri-
gan, Claire McDowell, Charles Arling,
and Florence Vidor.
Life. (Famous Lasky ; Oct. 20).
This is a wonderfully produced film
of thrills, romance, and mystery.
There are innumerable thrilling situa-
tions in the development of the story,
all of which have been admirably
brought out by Travers Vale, the
director. Jack Mower is leading man,
and Arline Pretty leading woman.
Other capable players in the cast in-
clude Rod La Rocque, Leeward Meeker,
Nita Naldi, and Effingham Pinto.
The Marriage Lines (Butchers ; Oct. 16).
A British story which is well above
the British average. The production
is good, and the scenes typically
English. The acting is all good in
quality, with Sam Livesy, Arthur
Walcott, C. Tilson-Chowne, and Bar-
bara Hoffe in the leading roles.
I
He
alia
lodii
1 Ei
Itst
u
cbv
8ta
s c
kt]
Man and His Woman (General .
Oct. 30).
J. Stuart Blackton, who produced
" The Glorious Adventure," has made
of a fine story an excellent film. The
heart appeal is very strong, and the
story grips right through to the end
The four leading characters — -Herbert
Rawlinson as the doctor, Eulalit
Ut
OCTOBER 1922
Pictures ar\d Pict\jKeQoer
55
Jensen as the fiancee, May McAvoy as
the nurse, and Warren Chandler as
the libertine — live their parts. There
is not a false note. All the other
characters are well cast.
Man — Woman - - Marriage ( First
Natioyial ; Oct. 2).
This is a magnificently produced
film which purports to teach the vital
lesson of the sanctity of Woman. It
does this by showing women in various
spheres of life since the world began.
At times it is crude ; at others
very noble in its idealism. Dorothy
Phillips is both beautiful and clever,
and is supported by James Kirkwood,
and Ralph Lewis, Margaret Mann,
Robert Cain, J. Barney Sherry, Shan-
non Day, Frances Parks, and Emily
Chichester.
Moral Fibre (Vitagraph ; Oct. 23).
Corinne Griffith and Catherine Calvert
in a very strong love story. This is
exceptionally well acted and produced,
and the intermingling of humour and
pathos is very clever. Corinne Griffith
wears some exquisite gowns in the
course of the story, which is never
sordid and always interesting.
Mother Love (L.I.JF.T. ; Oct. 16).
Here is another of the " fashion-
able " mother-love films — it is American
sentimentality presented with the
usual exaggerated theatricality of the
Italians. In no department of the
production is there anything above
mediocrity — usually not even that.
Soava Gallone is the star player.
The Mystery Road (Famous-Lasky ;
Oct. 23).
A very mediocre prodi*ction, made
in England, with David Powell as
the star. Its theme is the old one
of love of woman and a struggle with
mc.i. In the cast are Nadja Ostorv-
ska, Pardoe Woodman, Mary Glynne,
Ruby Miller, Percy Standing, Lewis
Gilbert, Irene Tripod, Lionel D'Aragon,
Arthur Cullin, R. Judd Green, and
Ralph Forster. Sex attraction is the
basis of the story, which is only a
grotesque caricature of E. Phillips
Oppenheim's original novel.
Partners of the Tide ( W ardour ; Oct. 16).
Excellent under-water scenes help
:o make this good film even more in-
:eresting. Its breezy character and
:ull-blooded theme will come as a
velcome relief to the usual social
Irama and sob-stuff. The cast com-
prises Jack Perrin, Marion Faducha,
' Gordon Mullen, Daisy Robinson, Ger-
rude Norman, J. P. Lockney, Joe
filler, Bert Hadley, Fred Kohler,
Florence Midgley, and Ashley Cooper.
'hroso (Gaumont ; Oct. 16).
t Anthony Hope's novel is made
:o live again in this film version,
llalvina Longfellow is " Phroso "
|ome to life, and she sets the standard
pr the acting of the rest of the cast,
("he story is full of interest and
adventure, together with a delightful
romantic flavour. The settings are
absolutely unique, and the whole
production reaches the highest artis-
tic level possible. Patrons will relish
this fine entertainment.
Proxies (Famous-Lasky ; Oct. 19).
Here we have a romantic bundle of
melodramatic thrills with a charming
love interest. An interesting picture,
although it follows the conventional
rut. In the cast are Norman Kerry,
Zena Virginia Keefe, Raye Dean, Jack
Crosby, Paul Everton Darley, Wm.
H. Tooker, Mrs. Schaffer, and Robert
Broderick. These assist to make this
" crook " film excellent entertainment,
with no pretensions as a " high-brow "
or artistic film.
Rich Girl, Poor Girl (F.B.O. ; Oct. 19).
Gladys Walton is here seen in a
well-balanced photo-play which reveals
rich pathos and crisp melodrama in
pleasing proportions. The romance
is well sustained, and the interest
maintained throughout. The star is
assisted by Gordon McGregor, Harold
Austin, Antrim Short, Joe Neary,
Wadsworth Harris, and C W. Her-
zinger.
Roads of Destiny (Goldwyn ; Oct. 2).
This is based on an O. Henry story,
to which a happy ending has been
forced. This, however, has not dam-
aged it too much, with the result
that it is quite good entertainment.
Melodramatic in style, it has been
well produced and well acted. Pauline
Frederick acts well. The others are
all good — Jack BoweVs and Richard
Tucker particularly so. The latter
shines in the Alaska episode. Very
good character studies are provided
by Willard Louis ; in each episode
he is a convincing devil's advocate.
Jane Novak is pretty and natural.
Theodore Roberts and Wallace Reid in
" Too Much Speed."
Sentimental Tommy (Famous-Lasky;
Oct. 9).
Sir James M. Barrie's famous suc-
cess has been produced by John S.
Robertson, with a cast that embraces
several of the best players of the stage
and screen. This picture possesses
much heart interest, but is scarcely
Barrie. The chief player is Gareth
Hughes, and he succeeds in dispelling
what Barrie atmosphere the pro-
duction may have had. May McAvoy
is very good indeed.
Snowblind (Goldwyn ; Oct. 16).
This is one of the best films of the"
year — strong in story, with acting
that reaches a high level ; an artistic
production with first-rate entertain-
ment value. The drama is in the
interplay of characters and the criss-
cross of emotion. The acting honours
are carried by a quartet of equality —
Russell Simpson, Mary Alden, Cullen
Landis, and Pauline Starke.
Too Much Speed (Famous-Lasky ;
Oct. 2).
This, is a story of love and racing
cars, and adare-devil driverwho proved
a fast worker in both. Wallace Reid
is the star, and is supported by Agnes
Ayres, Theodore Roberts, Jack
Richardson, Guy Oliver, Henry John-
son, and Jack Herbert. A fine picture,
with plenty of dash and humour.
Vi • of Smith 's Alley ( Walturdaw ;
Oct. 16).
A true-to-life story of British work-
ing-class life, with Violet Hopson in
the guise of a factory girl. Some of
the scenes have been taken in Keiller's
marmalade factory in Scotland, and
the English scenes are very realistic.
Cameron Carr is the villain of the
piece, and a wonderful performance
is given by Amy Verity. Others in
the cast are George Foley,
Sydney Folker, Sydney
Frayne, and Peter
Upcher.
56
P/c/-\jKes and Picf\jreOoer
OCTOBER 1922
rMCHJREGOER'S GUIDE
djrvm /•>
'*'/'W
CATHKKINE COMES TO TOWN
Where Men are Men {Vitagruph ;
Oct. 16).
I'hal popular serial pair, William
Duncan and Edith Johnson, feature
in tins, and manage to get a serial
flavour into a Western drama. The
storj is strong, and some of the situa-
tions very intense. The others in the
cast are George Stanley, Tom Wilson,
Gertrude Wilson, Harry Lonsdale,
George Kunkel, William McCall, and
Charles Dudley. At times the plot
becomes involved, and at others the
action drags, but, in the main, this
is good entertainment.
A Wife's Wakening (Jury ; Oct. <■)).
Here is i-Vit/i Brunette in the role
ol a sweet and devoted wife allied
to a base and unscrupulous husband.
A convincing story of strong dramatic
,u tion. It is well produced, and has
a very interesting story showing the
best and worst of human motives in
a present day drama. Sam de Grasse,
William P. Carleton, Beverly Travers,
and Edythe Chapman complete the
cast.
Woman Against Woman [L.l.F.T. ;
Oct. 9).
I his is heavy and unrelieved Italian
melodrama, with an unpleasant theme,
whi( h the beautiful settings fail to
relieve. The dresses are superb, but
1'ina Menichelli, the star, is too
theatrical, and gives an exaggerated
performance.
Wealth {l~amous-T.asky ; Oct. to).
Ethel Clayton stars in this drama of
the high life of American suburbia.
The story comes from the pen ol
Cosmo Hamilton, and the star is seen
in a remarkable array of gowns. Her-
bert Kawlinson heads a strong sup-
porting cast, which includes J. M.
liuniont, Clair McDowell, Jean Acker,
Lawrence W. Steers. George Periolat,
and Richard Wayne.
{Com ■ ■'
hu t that the public is far more
interested in ladies well, of a very
different type."
She portrays another siren in " Law-
ful Larceny," but she frankly acknow
ledged th.it she had welcomed the
opportunity offered by the engage-
ment at a London theatre, as it
seemed to her the only means of
escaping from the inevitable " groove."
The one drawback of being a
great success in one particular branch
of your work in America," she ex-
plained, " is that the public will
always expect to see you in future
just in that type of part and no
other. In England, I hear, it's dif-
ferent. Versatility is encouraged in
fact, it is expected of your artists."
I asked her what kind of part
appealed to her most of all. She
answered with a shrug that she had
no pet predilections that was too
dangerous an approach to a more per-
sonal form of the " groove " habit.
She felt she could enjoy the zest of
creating any kind of part even that
of a woman no longer young and
beautiful as long as it possessed
dramatic possibilities.
Yes, she also hoped to make a
picture or two in England : had
already had several offers. She had
liked her experience of film work,
but owned that she preferred the
stage. Self-expression is everything
on the stage, which therefore affords
an actress freer scope in the achieve-
ment of a distinct individuality. In
the screen-world, she is always more
or less a medium of expression for
another's personality that of the
director.
Miss Calvert is the widow of Paul
Armstrong, a well-known American
dramatist. Their married life was
very happy, and since her husband's
death, she has centred all her love
and ambitions in the future of her
little son. Paul junior's photograph,
Shirley Mus<>>i and
CjCorge O'Hara in
" Queenie."
fr.n,, i\0- ,,
which occupies the place of honour
on her dressing fable, .--hows a chubby
little boy with (air hair and his
mother's big dark eyes. And, diffi-
dent though that mother may appear,
when the professional interviewer in-
vites her to " talk about herself,"
she will expand amazingly if once
you broach the topic of her small son.
I loved the pride with which she
told me how wonderfully observant
he was for so young a child ; how,
for instance, the other day she had
taken him to a matinee performance
of " The Broken Wing," and how,
on his return home, he had drawn
the most complicated of all the stage
settings entirely from memory. " and
so that you could recognise it imme-
diately, too," she added, proudly.
I will add, by way of conclusion,
that, in the course of our chat, Miss
Calvert had undergone an amazing
process of metamorphosis, having
triumphantly emerged from the chry-
salis stage in which I had first dis-
covered her, gradually materialising
as a vision of exceeding beauty and
splendour.
Her make-up completed, the offen-
sive towel was discarded, and her
slender fingers coaxed her beautiful
wavy hair into a bewitching frame-
work of little curls around the lovely
oval of her fa< e.
I noticed th.it she dispensed with
the services of her maid in the arrange-
ment of her coiffure, and that this
important detail, together with the
actual process of " making up " had
occupied an incredibly short space of
time.
" i don't believe in an elaborate
make-up for the stage," she told me.
" Everybody warned me that this one
was going to be much too pale, and
that the British public would never
stand for it. And yet since our first
night, 1 have actually been com-
plimented quite a number of times
for my departure from a time-
honoured tradition."
1 agreed with her. Her maid was
helping her into the first gown she
wears m the production. It was the
sort of thing that seems specially
created for an ivory skin, raven hair,
and large dark eyes a gorgeous con-
fection of flame-coloured satin, with
a low corsage of silver lace and bright
contrasting ribbon ; a loose mantle
ending in a long train of orange
gossamer and silver lace.
She was .i radiant vision of alluring
feminine loveliness, but 1 think the
true spirit of that loveliness had
already been manifested to me when
our first greetings were exchanged
and I realised that true i harm ami
beauty are not skin-deep, since the)
can not only afford to ignore ex
traneous adornments, but are able U>
triumph over such circumstantial
handicaps as well, let us say, Turkisli
towelling and cold cream. . Klsii '
OCTOBER 1922
Pictures and Picture Oner
Yoxjl can add to
your income by
DRAWING
FASHIONS
o'
'''</
^ .-
Ml'tJ
J/iere is enormous Scope
in Joshion Drawing
IT does not require years of hard study
such as do other branches of art before
you realise any compensation. Provided
you have the correct training, you can soon
learn, in your spare time at home, to
draw fashions that are in urgent demand.
If you have any tendency for -'rawing and
want to make use of your talent so that
you can make money, fashion drawing
offers you the best opportunity.
CAN YOU DRAW?
The Associated Fashion Artists, comprising
London's leading Fashion Artists, give in-
struction by post in this lucrative art work,
and assist students to sell their drawings as
soon as thev are proficient.
A vast number of our pupils
are now earning good money.
Many began selling their work after the
first few lessons. Fashion Drawings by our
students are regularly appearing in the
leading fashion papers.
<&>
The fyllowinf Inters are typical of many that reach us, the originals
of which i'm ht seen by request, utnn our files, at our studios.
" 1 .mi pleased to tell you I have had some drawings .
accepted by the Editor of the local paper. 1 am sending
a proof f,,r yon to see. Might 1 ask for it to be returned
with my next lesson, as 1 am very proud of it • Two
millinery sketches were accepted by the Portsmouth Evening
Vews and >outh,rn Daily Mail, and were published on
fuly is. Two more have turn forwarded to this papei
and should b<- published this ivcek. One sketch was
iccepted by the Westminster Gazette during the month of
July, and 1 received information this morning that two
more sketches sent to tins papier have been accepted
Three show-cards were accepted during this month by
Messrs. Knight and Lee. Ltd.. and an order obtained for
more. I cannot thank you enough for the splendid
instruction I have received, and it was a lucky day for
me when I took up the Course."
" I have been so busy that I quite forgot to drop you a line
saying that I have heard from Mr. — . He has kept
two of the sketches sent him. and asked me to submit
a further selection for illustrating an Autumn Catalogue."
A young lady pupil who is onlv iS years of age, sold
30 drawings through our introduction before she had
finished the Course, whilst another, aftpt onlj
live lessons, is selling her drawings.
ILLUSTRATED BOOKLET FREE
Our superb illustrated Booklet, " The Art of Draw-
ing Charming Women," gives full particulars of
this fascinating Course. It will be sent you by
return of post, GRATIS and POST FREE.
SEND FOR THISTO-DAY
(a postcard will do) to
THE PRINCIPAL, STUDIO, ISO.
THE ASSOCIATED FASHION ARTISTS
2 KNEW COURT, LI NCOLNS, I N N. w.c .
58
Pictures and PictureOoer
OCTOBER 1922
SMALL ADVERTISEMENTS.
3d. per Word ::: Minimum 3 Shillings.
/*3°°. £4°o, £500 salary for certified bookkeepers ;
X> postal tuition, 8/- monthly ; success guaranteed
two exams. ; prospectus free. — City Correspondence
College (Dept. 10), 89, New Oxford Street, London,
W.C.I.
LEARN to write Articles and Stories ; earn while
learning. Booklet tree. — Regent Institute,
13T, Victoria Street, S.W.i.
A POSTCARD will bring you price-list and easy
terms for Watches, Rings, Cycles, Suits, Rain-
coats, Boots, Baby Cars, Cutlery, etc., from 3/- monthly.
Send a postcard to Masters, Ltd., 80, Hope Stores Rye.
TROUSSEAU, 56s. od. 24 garments ; smaller set,
37s. qd. Easy Payments*; list, stamp. — Marie
(I.. A.), 99, Tottenhall Road, N. 13.
LADIES, do your own Hemstitching and Picoting.
-t Attachment fits any machine ; 8/- only. Agents
wanted. — Lewis, 47, Wicklow Street, King's Cross
London.
" piCTURES AT HOME." Machine and film lists
-T free. — Pictures, 109, Kenlor Road, Tooting.
NOVEL XMAS CARDS FOR PICTUREGOERS.
Set of six charming hand -coloured Xmas Greeting
cards with photogravure portraits of such prime
favourites as Mary Pickford, Charlie Chaplin, Pearl
White, Owen Nares, Violet Hopson, and Stewart
Rome, complete with Greetings, tied with coloured
cord, and six plain envelopes. Price 1/6 the set of six,
complete, post free ; or two sets for 2/6. To avoid
disappointment order early from Pictures Salon,
88, Long Acre, London, W.C.2.
PHOTO Postcards of yourself, 1/3 doz. ; 12 by 10.
Enlargements, 8d. any Photo. Catalogue,
samples free. — Hackett's, July Road, Liverpool.
/"2000 worth of cheap photographic material ; sam-
%2 pies and catalogue free.- — Hackett's Works, July
Road, Liverpool.
HOW TO BECOME A FILM ARTISTE" is the
best guide to those desirious of playing for the
nlms, price 2/3 post free, from "Pictures" Salon,
88, Long Acre, London, W.C.2.
DOLLS FOR YOUR LITTLE ONES. Little Jackie
Coogan, the nlm.favourite, price 1/6. — "Pictures,"
Ltd., 88, Long Acre, London, W.C.2.
HOW TO MAKE MONEY by writing for the films
"Cinema plays: How to write and sell them,"
tells you how to succeed in this lucrative work. Price 3/9
post free from "Pictures" Salon, 88, Long Acre,
London, W.C.2.
AN IDEAL PRESENT for your boy or girl is one of
our "My Film Favourites" Albums, specially
designed for collectors of picture postcards of Kinema
Stars. Prices : 1/6 to hold 150 cards, 2/- to hold 200, and
3/- to hold 300; beautifully bound. — "Pictures," Ltd.,
88, Long Acre, London, W.C.2.
(SIXTEEN BEAUTIFUL PHOTOGRAVURE Por-
v> traits of the most popular Film Favourites,
%\i<- of each portrait, 10 ins. by 6 ins., and every one
worthy of a frame. Price, complete in handsome
Portfolio, is. 2d. post free. — " Pictures," Ltd., 88, Long
Acre, W.C.2.
DE LUXE ENLARGEMENTS of yourself, your
friends your dog, your cat, can be supplied
for Half a Guinea each, post free ; size of picture,
15 ins. by 12 ins., on handsome mount, 24 ins. by 19 ins.
(fur abroad the enlargement will be mounted on linen).
Any photo will do, however faded. Sent securely
packed and post free for 10s. <>d. Equal to any
Two Guinea enlargement. — " Pictures," Ltd., 88, Long
Acre, London, W.C.2.
CHILDREN PLAYERS ON THES( Kl FN ( harm-
ing picture postcards of Jackie Coogan, Aberg
Twins, Francis Carpenter, Johnny Jones, Lucille
Ricksen, K.iby Osborne, Jane Lee, Katherine Lee,
Master Roby Bubbles, etc , etc. 13 in all, including
6 penny cards, 1 2d. coloured one, and 6 beautiful
glossy coloured fd. ones. Price 2/2 the set complete.
Post free from " Pictures," Ltd., 88, Long Acre,
London, W.C.2.
ARE YOU AMBITIOUS? II so, a METRO-
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Many intensely practical examination courses.
Moderate lees, by instalments, if desired.
"Students' Guide" a handsome volume of 132
pages free on request. Metropolitan College,
Dept 532, St. Albans.
TO MARIE DORO.
I go for them gravely, I tackle them
bravely,
And, presto ! my stanzas begin !
Hurrah ! Two lines finished, and
hope undiminished ;
But, oh ! wilLthey ever get in ?
How I shall curse if I find I can't
versify
Up to the task that I've set ! —
Heedless of strictures, to praise
your pictures.
For you are the loveliest yet.
Here's for a move on, I've got
improve upon
This rate of workmanship if
I'm ever to show it; meseems I'm a
poet.
Although it's a slow job and stiff.
(Yes ; I'm confessing it). But it's
progressing ; it
Yet may be done before lunch—
And ready to carry my love to you,
Marie,
For you are the pick of the bunch.
E. B. O. (Bristol).
all
to
" TO THE PEARL
OF ALL PEARLS."
Of the many fair
film stars who
give us delight,
The fairest of all,
to my mind, is
Pearl White.
This brave little
lady, you all
must agree,
Owns courage and
grit of the highest
degree.
This Pearl of great
price, I'm de-
lighted to say,
Has come back to
the serial king-
dom to-day ;
But whate'er she
may do, and
where'er she may
be,
She'll still be the
same precious
jewel to me.
" Lover of Pearl " (Sussex)
MARY ODETTE.
Some movie stars are brighter far
Than many of their neighbours are,
And one is, in particular — -
That's Mary.
A modest little maid is she,
Her greatest charm, simplicity.
No other star appeals to me
But Mary.
" With all her heart" a role she plays,
And well deserves the words of praise.
That pome from " fans " who sit and
gaze
At Mary.
Alas ! in grim reality,
'Tis but her shadow that I see.
And yet, she's all the world to me,
Sweet Mary.
P. R. J. (Sussex).
PULLING PICTURES TO PIECES.
[This is your department of Picture-
goer. In it ive deal each month ivith
ridiculous incidents in current film
releases. Entries must be made on post-
cards, and each reader must have his
or her attempt witnessed by two other
readers. lib will be awarded to the
sender of each " Fault " published in
the Picturegoer. Address : " Faults,"
Picturegoer, 93, Long Acre, W.C.2.]
Bearding Father Time.
In The Greater Claim when Alice
Lake is shown looking at her marriage
lines the date thereon is clearly seen
as 1921. Later, her husband is shown,
counting the days to his twenty-first
birthday, and the calendar seen is for
the year 191 7. This is turning back
the clock with a vengeance. — M.N.
(Bradford).
A Mysterious Epistle.
In The Silver Hoard the hero is seen
reading a private letter from his
fiancee's father. The letter is written
on a four-sided sheet of note-paper,
and he turns the pages as he reads.
But when the letter appears on the
screen it is* typewritten on a single
sheet of business paper, signed at the
foot.— D. W. (Bristol).
The Unobliging Blind.
In Camille Nazimova is shown on her
death-bed, and a maid enters the room
and draws up the blind. Afterwards the
maid leaves to answer the door, and
when she returns to the sick-room the
blind is down again. Who lowered
it ? -M. P. (London, S.W.).
jOCTOBER 1922
Kicr\JKes ana Kicrureyuer
5V
FTER bathing in
the morning your
face is not in the mood
to hold powder without its look-
ing " floury."
Apply Pomeroy Day Cream first ;
when this has " vanished " dust with
Pomeroy Powder in a shade to suit
your colouring. Then you get a lovely
bloom ; but the means whereby you
get it are invisible.
Pomeroy
Day Cream
2/6 & 5/- a Jar
Pomeroy
Face Powder
2/6 a Box
•// all Chem'uts and Stint
Mm. Pomeroy, Ltd.,
29 Old Bowl Street, London. W.
WATrU MANUFACTURERS'
w r+ I \fi wonderpul ore
TO
WONDERFUL OFFER
"PICTUREGOER" READERS!
r
purchasers have tested and
heartily approved of these amaz-
ing watch bargains. .Unparalleled
in construction or finish, these
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Place your order without delay,
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post
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No.l
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Watch. Guaranteed 5 years. High
Grade Fully Jewelled Movement. Perfect Timekeeper.
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j ■ ***■•»"•• of Ladies' and •
j Gent's Watches sent on •
{ receipt of post-card.
IMPORTAXT — Those customers unable to
remit full amount, should send SI- Deposit to
''iu" these WoneUrfui llarinins.
WATTS, SON & CO.,
(Dept. P.G.). 327, Oxford St.. London, W.l.
No. 3,
4Z/ 6 post free.
Send P.O. at once to
t(
Wonderfully refreshing
when tired/' says
Mercy Hatton, the
film star.
" / always have Mackenzie's Smelling
Bottle in my dressing-room, as it is
wonderfully refreshing when one is tired
or suffering from headache after the
strain of work in the studios."
MERCY HATTON.
BRAIN workers everywhere are en-
dorsing the wonderful powers of
Dr. MACKENZIE'S Smelling
Bottle, A breath from this handy
little bottle after a hard day's work
in any sphere will banish headache and
inertia in marvellous fashion. It is
equally efficacious in warding off colds
and influenza. Always have by you
Dr. Mackenzie's
Smelling Bottle
Of all Chemists and Stores, 21; or post free
in U.K. for 2/3
DR. MACKENZIE'S LABORATORIES, Ltd., READING
60
Pictures and Picf\jreOoer
II I IIMlll » !■> HI . ■*
-«1£0*»-
Norma Hansen (Hants. — d)
Juanita Hansen has never visited
England except in celluloid. We had
a nice interview with her in the Janu-
ary 1922 issue. (2) George Cheseboro
commenced his screen career in Texas
Guinan two-reelers. His best-known
serials are Hands Up, The Lost City,
and The Diamond Queen. Wanted at
Headquarters and Blind Circumstance
are new films of his. Page plate of
George in January 1922 issue. (3) Jack
Mulhall, Ruth Stonehouse, Frank
Elliott, and Marguerite de la Motte in
The Hope. (4) Tn Ashes of Love —
" Arthur Woodridge," James Hack-
ett ; "Ethel, his wife," Ethel de
Remer ; " Howard Rosedale," Hugh
Thomson ; " Helen, his wife," Mabel
Julienne Scott ; " Louise Mondyke,"
Effie Shannon ; " Morton Saville,"
William Davidson ; and " Catherine
Long," Paula Shay. (5) Malvina
Longfellow starred in Calvary.
M. G. (London). — (1) Letters for-
warded as requested. All about Pris-
cilla Dean and Wheeler Oakman in
the April 1922 Picturegoer. (2)
Richard Barthelmess born May 9,
1895, in New York City. Educated at
Hartford, Connecticut. hirst film,
War Brides, with Nazimova. Others
are the " Babs " series — Seven Swans,
Rich Alan Poor Man, Nearly Married,
The Hope Chest, Boots, Broken Blos-
soms, Scarlet Days, The Idol Dancer,
The Love Flower, Way Doivn East,
Experience, Tol'able David, The Seventh
Day, and Sonny. Now heads his own
company. Dick is 5 ft. 7 in. tall, with
dark hair and eyes ; he's married to
Mary Hay. (3) Corinne Griffith was a
dancer before she became a screen
player for Vitagraph. She's 5 ft. 4 in.
tall. Light brown hair and blue eyes.
Her husband is Webster Campbell, who
appears opposite her sometimes, and
also directs. Deadline at Eleven, The
Garter Girl, Babs' Candidate, The
Don't worry your head over Picture-play
problems. We employ a man to worry
for you. His name is George, and he is a
Human Encyclopaedia for film facts and
figures. Send along your queries to
" George," c.o. " Picturegoer," 93, Long
Acre, London, W.C.2.
Broadway Bubble, Island Wives, and
Divorce Coupons are some of her films.
(4) Doris Keane is American. She has
made only one film, Romance. Married
to Basil Sydney, who played opposite
her on the screen and stage.
H. T. (St. Paul's School). — That was
Harry Woodward playing " John
Warren " in The Bait. No postcards
of him as yet. I liked your nice brief
epistle ; but no need for pluralities
there's only one of me.
F. J. P. ( Willesd.en). - (1) After
Many Days, All Men are Liars, A
Little Child Shall Lead Them, Toys,
First Men in the Moon, and Forbidden
OCTOBER 1922
Valley ire Bruce Gordon's films H<> ,-
a South African ; educated in London,
where he made his first film appear-1
ance. Bruce studied for a medical
career originally (2) Not May Mc \vn\
but May Allison married a direi tor
The Forbes-ites (Worcester). — ]]
know all about Worcester Sauce nnv
I've read your letter. (1) Charm
Meredith in The Ladder of Lies, H
Reginald Denny in Paying the Pipe
and The Iron Trail. He was born a
Richmond, England, and has been 01
the stage since he was six. \ tin
swimmer and boxer ; was champio.
in the 2nd Artists' Rifle's in 1017 Hi
other films are Bringing Up Betty, I h,
Oakdale Affair, 39 East, A Dark I. an
tern. Footlights, Disraeli, The Leatht
Pushers, and Jaws of Steel. (3) Can' 1
waft abroad unaddressed brickbats
Suppose they hit the wrong star
(4) Read my first remark again . " Yes'
to the last query. Congratulation
upon your chocolate-coloured ink. (5 ,
In The Iron Trail — " Murray O'Ncii,
Wyndham Standing ; " Curtis Gor
don," Thurston Hall; " Dan Apple
ton," Reginald Denny ; " Eli/.a Apple
ton," Alma Tell ; " Tom Slater,
Harlan Knight ; " Natalie," Rett;
Carpenter ; " Dr. Cyrus Gray," Le!
Beggs ; " Mrs. Gordon," Eulalie Jensen;
Inky (Streatham). — Wally Reid ha
just finished The Dictator. His nex. 1
release is The Gold Dredgers (Nov. 6) I
then no more until March 1923, wheij
Rent Free is due on the 10th. Sto^A
flattering — you're making me blush
Amo Pauline (Worcester). — " Find
Pauline Frederick far and away abovl
all the other stars, both as regard
acting and looks." (1) RoatU .
Destiny is released this month. (.
Salvage released on Aug. 14. (3) Pai!
line has left filmland for a while an,
has been on the stage ; but there are ,
good many of her films still to be rail
leased. Your wishes are reciprocatecj ;
One of Norma's Fans (Walthan
stow). — Art plates of all your favouill*
ites have already appeared. (3) Normij«
Talmadge's next will be The Voice frorm
the Minaret, from the Robert Hicher
novel ; (4) Can't give you all Shirle!
Mason's films, but here are a few c
them Tht Little Chevalier, The A wain I
ening of Ruth, Cv Whittaker's War\\
The Apple Tree Girl, Come On /ill
Goodbye, Billy, The Rescuing A ngt
Treasure Island, Her Elephant Mai
Merely Mary Ann, Flame of Yottt
Ming Toy, The Lamplighter, Jachi
and The Ragged Harems (5) 1 like 3
the stars.
(.4 large number nf replies unavoi lably held five
"Quauty
AND
FLAVOUR"
I
OURNYILLECocoa
(adbury"
MADr UNDC
CONDITION*
SHE THE NAME
ON EVERY PIECE Of CHOCOLATI
OCTOBER 1922
Pictures and Picture poer
61
«MMH IBTmrtTMMHIIlll
LEARN TO PRODUCE
DISTINCTIVE DRAWINGS
Until an artist learns to draw for reproduction he will never be
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THE LONDON SKETCH SCHOOL
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PHILIP F.MANUEL, Advtrtiummt M,i...i.,.,
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i:';ii!!ii
62
Pictures and Picf-\jreOoeK
OCTOBER 1922
Wkat do You Think 9
Your Views and-Ours
*~- mr **a
f HAVE received a large number
*■ of letters telling me that the
" Picturegoers' Guide " was the most
popular feature in the old " Pic-
tures," and beg-
What Do You ging me to include
Like Best? it in THE PIC-
TURE GOER.
You will find the Guide in this issue,
and it will be a permanent feature
of the paper from now on. Whilst
on the subject of popular features,
I am going to put the question to
you : " What do vou like best in
THE PICTUREGOER, and why ? "
Are there any regular features of the
paper that you would like to see
omitted ? Can you suggest any new
features the inclusion of which would
be of service to picturegoers ? Please
let me have your views.
WONDER how many other
*■ readers will, like myself, have
rejoiced at the news contained in
the September number that Eugene
O'Brien is to ap-
Idcal Heroes pear opposite Nor-
and Heroines, ma Talmadge once
again ? In my
opinion, these two stars make an
ideal pair — they play up to one
another, and the excellent acting of
both ensures a really first-class film.
Old pictures as they are, Poppy, The
Safety Curtain, and others in which
these two appeared together, remain
in my memory as some of the most
enjoyable I have seen. I anticipated
great things when 'Gene rose to
stardom ; but after seeing all his
releases up to date, I am sorry to say
I , consider his work has not once
reached the standard of his old
' supporting ' days. If I had my way
the following should star together as
often as possible — Norma and 'Gene,
Nazimova and Charles Bryant, Kath-
erine MacDonald and Roy Stewart,
Charles Ray and Clara Horton.
There are others who, I firmly
believe, would make ideal pai-rs,
though I doubt if I shall ever see
my desires fulfilled. Among them I
couple Buck Jones and Marjorie
Daw, John Bowers and Constance
Talmadge, Corinne Griffith and
Thomas Meighan. What views have
other readers on the subject ? " —
C. O. {Barnes).
" IN answer to P. S. (Folkestone),
*• I beg to >ay that most cer-
tainly I saw William Farnum as
' Carton,' ' Villon ' and ' Lassiter.'
(I did not mention
Was William ' Jean Valjean.') I
Farnum also read the
.^fiscasl ? novels with which
these characters
are associated, which is my reason
for objecting to Farnum *s imper-
sonation of these roles. F. S. de-
scribes this actor as splendid and
manly (I did not say he wasn't) ;
but if F. S. reads the books he will
find that ' Villon ' and ' Sydney
Carton ' were anything but that.
The first was a little imp of a fellow
forever in mischief, and the second
was a lazy, drunken good-for-
nothing until his last great sacrifia
for Lucy Manette. As for ' Lassiter,
he is described as gaunt and grim-
surely a part for W. S. Hart rather
than Farnum." — B. D. {Shepherd's,
Bush).
" T SHOULD like to see a fancy-
* dress ball with the leading
kinema stars in the following roles .
Eugene O'Brien as an ancient Greek,
Wallace Reid as a
A Film Stars' Viking, Thoma-
Fancy-Dress Ball. Meighan as a Mexi-
can, J. Warren
Kerrigan as a Highwayman, Jack
Mulhall as a Gladiator, Mahlor
Hamilton as First Lord of the
Admiralty, Wyndham Standing as a
Red Indian, Milton Sills as a Judge
Gareth Hughes as a Toreador, Man
Pickford as ' Diana,' Clara Kimbal
Young as ' Portia,' Norma Talmadge
as a Gipsy, Violet Hopson as a lad}
Jockey, Katherine MacDonald as
' Cleopatra,' Mary Miles Minter as a
Dresden Shepherdess, Ruth Rolanc
as a Russian, and Alia Nazimova as
' Bacchante.' "— E. G. W. {Calcutta).
" I WISH to protest against the
* way that provincial picture-
goers are treated in the matter oi
super-pictures. Nowadays it seems
to be "the fashion
A Wail from for all important
the Provinces, productions to be
given a special pre-
sentation in London, after which the
films are put into storage for months
so that provincial picturegoers have
to wait as patiently as they can
until the powers-that-be take it intc
their heads to ' release ' the films
Why should London be favoured in
this fashion ?
What has Edin-
burgh done,
what has Man-
chester done,
that they
should be kept
months behind
the times ? I
demand a uni-
versal release date
for all pictures. If the
provincial cities have
to wait, let London
wait, too." — K. T.
Edinburgh).
NOVEMBER 1922
SNOWDON
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Snowdon Handkerchiefs arc made up in dainty boxes
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Pictures and Picture Over
NOVEMBER 1922
Set free the Oxygen
from a packet of Persi
Perd-U
Hidden captive in every packet of Q^ersH
lie* Oxygen, the cleansing and bleaching element
that fills the air around us.
Oxygen is the natural bleacher that whitens linen.
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Simple as possible to use and most satisfactory especially
lor things more difficult to wash than others.
Use Q^ersiT) for one wash-day, and you will never
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How long would you
promise to be good ?
n
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blemish
With the approach of the cold wintry winds and cutting
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times. Commence to-day by using Anzora Vanishing
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the skin soft and clear. Althe;igii it is delightfully and
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8
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2 6 each, and in 4-lb. Tins.
NOVEMBER 1922
Pictures and Picfurepoer
Every woman knows the fascination and charm
exercised by a beautiful complexion ; how men
admire a skin soft and free from blemishes ; how
even the plainest features are forgotten when the
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DO NOT ENVY OTHERS.
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The quickest and most efficacious remedy for
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Deafness and impaired vision arc
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lie sure to cross your P.O.'s or
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Ask your chemist for it.
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THE HIEROGLYPHIC
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A NICE GRANULATED PREPARATION SUPPLIED IN TINS
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I lie Best and most economical Hall
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It entails no Labour '
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Most children inherit the texture required for
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Hict\iKe5 and Picf\jreOuer
NOVEMBER 1922
Have you tried the improved PRUH
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nauseating, malodorous preparations sometimes offered as " just as good," and
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soft, white, smooth and hair/ess. Per case,
To impart colour to pale cheeks and lips
CORYX is ihr most marvellous toilet discovery for years. It is a greaseless cream which instant!)
dries int.. the skin, and one application with the gloved finger-tip lasts .1 whole (lav. Cory* docs
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moisture of the lips. Artistically applied, Coryx defies detection, even with the closest s. rutin) once
used, no words are necessary to explain its marked superiority.
For the. cheeks you use Coryx Blonde, (for fair complexions), or
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I.o nj«. dark
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Eyelashes
Use " Eydolash " (ream
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relief from rheumatic pain which it quickly produces, in each package
of Alkia Saltrates thi refiners enclose an authoritative and extreme!)
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SPECIAL NO I I II i an informed, by Saltrates, Ltd. (l>cpt. 185C),
Huston Buildings, London, N.W.J,., who prepare a very high grade o]
Alkia Saltrates, that they are willing, as an advertising offer, to supply
anyone interested in tin product n Ith a regular is. ■><!. size packet free
if applicant cares In send snper.ee for the postage, packing, etc.
<2&
F. HAWKE,
I, GREAT TITCHFIELD ST.
Oxford Circus, London. W.l.
By Hawke's special and exclusive process a perfectly
natural and permanent wave is given to the straightest (
hair. Furthermore, the hair is rendered bright and
glossy— in contrast to that dull, lifeless appearance so
often produced by other methods.
Full half-head" waved by
Hawke's Special Pro. ess £2 0 0
(Usual Charge £3 o o)
Side Piece-, 3/- per curler.
Wh) not 'phom i<m in appointment, and
thus jave disappointment and delay ?
Aik foi " Ml SEUM
SIX-EIGHT-TWO-THREE."
NOVEMBER 1922
Pictures and PictureOoer
",3
\v% ii ■ ■■ TW— — .1^-w
CONTENTS:
A NOVEMBER DIARY - - - 9
AT THE COURT OF KING HAL - 10
England through Yankee lenses.
NEW TRICKS FOR OLD - - - - 12
How models help the movie-maker.
REX IN RURITANIA • 14
Filming " The Prisoner of Zenda."
"NERO' 16
Fox's great spectacular drama.
"PLEASE KISS MY WIFE I " - 17
Should film producers direct their -wives}
THE MILLION DOLLAR MOVIE- - 29
All about " Foolish Wives."
THE MOVIES' ONLY HOPE - 22
An outspoken article that provides food for thought.
BRITISH STUDIO GOSSIP - 24
PICTUREGOF.R ART GALLERY - 26-30
Mabel Julienne Scott, Owen Moore, Bebe Daniels,
Dustin Farnum, Eric Von Stroheim.
THE SCREEN FASHION PLATE - - 31
FILM STARS AT HOME: Eille Norwood 32—33
A double-page art plate.
THE GLORIOUS ADVENTURESS - ■ 34
An interview with Maude George.
THE GOLD DREDGERS - - -35
The story of the Famou%-Lasky Film.
IMCTUREGOER PARODIES : Tom Mix - 39
THERMO LOGICAL EXACTITUDES - 40
/ rom zero lii boiling point in fifteen seconds.
LITTLE MISS MORGAN ■ - • - 41
An mtervieiv v'th Joan Morgan.
PARTS I HAVE PLAYED: by Mary Clare
SHADOWLAND
Movie Gossip of the month.
PICTUREGOERS* GUIDE -
LET GEORGE DO IT - • •
PULLING PICrURES TO PIECES
WHAT DO YOU THINK?
46
49—50
illllil
Hill Ml 4 {J «
PIMP
i 1 f
V
3V
'Mfjfi
&*$
y^wgrn.
Xs?3rS^
* 0-
Pictures ar\d RicFureQuer
NOVEMBER 1922
gives the greatest performance of
her screen career in this masterly
film version of the stage
success. As "Ming Toy" Con-
stance Talmadge makes the most
of a role rich in comedy-dramatic
opportunity, and her performance
sparkles with originality and
shrewd character-drawing. You'll
enjoy this delightful story of the
indomitable little Chinese girl,
who finally turns out to be an
American, more than any Con-
stance Talmadge picture you
have ever seen. Don't miss it !
Distributed throughout the United Kingdom by
The Associated First National Pictures, Ltd.,
37/39, Oxford Street, London, W.I.
NOVEMBER 1922
Pici \JK25 and P/cturepoer
PICTURES
AN D
THE PICTUREGOER
TH E- SCR
MAGAZ I N E-
VOL.-4. N9 23. NOVEMBER. 1922
/ ditorioi Offices-.
93, t-onn Aire, Lot, Jan.
by C unadian Magazine po I.
A November
Di&K
Roocmbcr MribUays.
2
Mobtl Julienn* Scoll
3
~1lic* Hrady
4
Togo Yomumolo
4
■ - ■ Hill Rogers j
7
Ltairiu Joy
9
Mae Marsh
■ IS
James Morrison
! K
l^wis S. Slum
i IS
Naomi I'.hUders
: 16
Thomas II. Ince
i /*
Johnny Jones
19
- Joyce Uearsley
I 24
- John Sainpolis
2S
Helen* Chadwick
-haired " Susan Jane " cif the
Nine years later on the same
lament to Big Bob Leonard,
A MUNGST other red - letter days in
i- A- its history Vitagraph count9 Wednes-
day, November 2, 1912. when, amid
great enthusiasm, the first train wreck
specially staged for the Movies was success-
fully screened in "813.
ONE week later, in the year 1910. a
small black-eyed, black-haired person-
age side stepped into Essanay studios.
What he lacked in words he made up in
smiles, and all those present voted Max
Linder (newly arrived from France to make
comedies in U.S.A.) a jolly good fellow.
And so say all of us.
ACCORDING to the newspapers, "The
Bachelor Brllta. at the Globe
Theatre, New York, wasn t filling the
house on Saturday, November 11, 1910,
This certainly wasn t the fault of the graceful, golden
production, whom we know now as Mae Murray,
day, the young lady in question announced her eng
then directing her in motion pictures.
ON Saturday, November 12, 1921, a small boy named Smith tried out upon
father one of the tricks he d seen Jackie Coogan get away with on the
screen. W hereupon father wrote to nine Dailies denouncing motion pictures
as the sole cause of juvenile crime, and the small boy felt very sore about it
for weeks.
A A HEN "From Rags To Riches was at the Arch Street Theatre,
» » Philadelphia, "on Wednesday. November 16, 1904, Sidney Olcott was
a convincing and realistic " Mike Dooley. But searching through
the cast of the movie version, dated November 1922 we find they ve cut out
poor old Mike entirely, and made " Marmaduke Clarke " (Wes Barry) the star.
\\ • ELL in the picture as " Percy " in " C. 0. D. at the Gaiety Theatre,
» * New York, was one Antonio Moreno, on Tuesday, November 22,
1912. But his English wasn t as good as his intentions, and when
the stage manager took him to task over a mispronunciation Tony replied in
temperamental Spanish and was well out of the cast next night.
BEHIND the scenes in a theatre in Rochester, New York, a plump kiddie
of seven was sobbing her heart out on the shoulder
of David Belasco, the famous producer, on
Friday. November 25, 1910. The S.P.C.T.C. of that
city had decided that she was too young to appear
on the stage. Its a
good thing that
other towns
weren t so unkind,
else there would be
no Lila Lee
decorating
the silver *^J#. y,
sheet to-da\. "*«•». i'
Pictures and Picture Over
NOVEMBER 1922
AYaiAkee
• Cou rt •
/Ki^Hal
1 1
Mary I itdvr."
obster a I ' Ame'ricaine is a food for the
gods ; cocktails, ditto, ditto, ditto, have
the net tar of Jove, looking like elder-
berry wine ; but English history a I'Ame-
> inline is no sort of a diet for Brit-
ish stomachs. Something will have to
be done about it, or we shall have
our indignant picturegoers lynching an
American producer as a warning to the
others.
These bitter lines flow from the pen of one who
has witnessed When Knighthood Was In Flower,
an American " super " that is the funniest thing
thai ever happened, or the saddest sight in London,
according to your point of view. If you believe
in the Divine Kight of Films, in the Educational
Value of Motion Pictures, and in the Art of the
Kinema, When Knighthood Was hi Flower will
break your heart. If, on the other hand, you
i herish no illusions about the movies, there's a
good laugh coming to you when this " super "
reels into your ken.
Says the "Motion-Picture News" of America,
in a special article :
Stand back, or you draw your swords on Mary Tudor, the King's sister ! "
" Cosmopolitan's stupendous picture, ' When Knighthood Was In
/•'lower,' has made screen history. It is one of the greatest achieve-
ments of the silver sheet. It seems as if the sponsors said to them-
selves : ' We'll keep faith with that colourful chapter of English
history.'
" Let us look into this production. What do we sec ? "
We hate to answer that question, but it must be done. We see
" Mary Tudor " jazzing with her lover at the King's ball ; we see
Mary (in bed) entertaining a motley assembly that includes
the King, Cardinal YYolsey, and a crowd of courtiers and under-
strappers ; we see Bluff King Hal, mounted on his horse, leading
a midnight chase after Mary Tudor, for all the world like a Western
sheriff pursuing a cattle thief ; we see Mary Tudor, attired as a
man, fighting a duel with a tavern brawler, and crying when she gets
the worst of it : " Stand back ! Beware lest
you draw your swords on the King's sister ! "
' When Knighthood Was In Flower ' is a
credit to the entire motion-picture industry,"
says the New Vork " Morning Telegraph."
" One of the frequent criticisms against
American directors has been the apparent
lack of knowledge of the period with which
they are dealing. ' When Knighthood
Was In Flower ' is a contradiction of
the belief that no American director
has the knowledge necessary
to make a historical
drama and retain its
atmospheric flavour and
its authentic costuming
and settings of the
time in which it is
laid."
Forrest Stanley
and Marion
Davits.
NOVEMBER 1922
Pict\JKes and PictureQoeK
i
idea of the general impression given
l>v When Knighthood Was In /•/
Nearly every American film producer
' drops a brick ' when he enters t he
corridors of history; but the man who
produced When Knighthood Was In
h'lowei dropped a bomb
When Knighthood Was hi I .
musl have cost a fortune to produce,
for the settings are on a magnificent
scale The photography is flawless,
tor in the mattei of technique
America still leads the movie world.
\s for the rest, an old music-hall
gag can he adapted to meet the
situation : " My landlady is a good
soul, but she has one very bad fault
She will ' OOk, and sin i ant
America will produce historical
pictures America can't.
Ji run J 1 1 it
perihius
tuation
This is the un-
kind est thing that
has happened
Wolsey since th
put him on the
derwear adverlis
" Cover up that arm, hussy ! ' was " Henry VIII.'
comment on the above tableau.
From the above extracts you will gather that
American critics have taken When Knighthood
Was In Flower quite seriouslv, and that they
can see nothing incongruous about the pro-
duction. In fact, they are distinctly proud of
the picture as a faithful representation of a
period of British history. Hut English critics
have been merciless in their exposure of the
picture's weaknesses.
It is " a confused mixture of tomfoolery and
syncopated history, with occasional uncon-
vincing glimpses of old Tudor England," says
the Daily Mail. E. A. Baughan
declares that the film is " hope-
lessly American " in story, acting,
and characterisation. The critic
of The Referee states that he
" seethed with indignation " until
he came to the conclusion that
the film was the greatest joke ever
screened, after which he " chuckled
with delight at the antics of a very
modern American girl of musical-
comedy type masquerading as a
Tudor maiden — and a Princess
Royal to boot — poking a portly,
fancy-costumed figure in the ribs,
duelling in a pot-house, chucking
(this is the correct word for the
movement) rolls of velvet at the
head .of her (,)ueen sister-in-law,
gnawing the leg of a chicken, well
dipped in gravy, sticking a shapely-
leg from out of her bed-clothes,
thereby shocking her Sovereign
brother and Cardinal Wolsey almost
to the verge of apoplexy ; in short,
behaving as all the bad girls of all
the families rolled into one."
The Sunday Pictorial describes
the film as "a vulgarised chapter
from a comic history of England,"
and the Daily Express says : "If
you can imagine your meditations
in some ancient cathedral being
constantly interrupted by a blare
of saxophone jazz, you have an
12
Pictures and PictxireQuer
NOVEMBER 1922
MewTricks
EDWIN SCHALLERT
How miniatures are used to enhance actual
settings, and, in many cases, are substituted
for the real thing.
/ <>/> The harem scene in " A Sailor-Made
Man." Circle : The explosion in " Dead
Men Tell No Tales.''
The villain was making his
escape. Beneath the span of
bridge in the foreground his
motor boat could be seen in
the distance. It was heading
straight for the lighthouse. I
knew that in 'a moment the
hero, in another craft, would
be speeding after him in hot
pursuit I recognised the lighthouse to-
ward which they were making as one
that is located at Los Angeles harbour.
It stands at the end of a long break
water, part of which was visible on the
screen. But
1 was puzzled. Anyone would have
been. The bridge ! It was apparently
a huge and magnificent steel structure.
Was there — No, certainly not. There
was nothing like it in that vicinity of
the harbour. Why. there couldn't be !
For this bore a peculiar, a one might
say distinct resemblance to Brooklyn
Rridge
That's out," called a voice
at my elbow. Through the dark-
ness of the projection-room, I recog-
nised it as that of the director of the
serial at which we were looking.
" Here's the right shot," he said,
addressing himself to me. And as he
spoke I noted that there had flashed
on the screen the same motor boat,
and the same bridge, but instead of
the lighthouse a distant shore line on
whose slopes buildings clustered con-
fusedly.
' That first shot was a test," he
said. " We've been experimenting in
some new photographic tricks. The
bridge isn't real. It's just painted."
A moment later, there was a lively
scrap on between the hero and the
villain of the story. One boat rammed
the other, anil the heroine was dragged
dripping from the briny. I became so
engrossed that I neglected to ask
more about the painted bridge.
The next day they were to have
some retakes of the chase. I went
down to the seaside to see them. I
anticipated an exciting afternoon,
because you never can tell nowadays
how far realism will go when the hero
and the villain become energised
over their mutual an-
tipathies.
The camera was
trained on a still stretch
of water, where the
villain's launch tugged
eagerly at its anchor.
Beyond and away was
a shore line which I
vaguely sensed was
the same which I had
seen the previous day
on the screen. These
things held my atten-
tion only a moment,
however.
What caught my
eye was not the villain
nor his motor boat,
nor the charm of sun-
lit sea. It was a sheet
of plate glass imme-
diately in front of the
camera.
I shouldn't have
noticed it at all, except
for one thing. Because,
except for that one
thing it was no more
interesting than the
glass in a shop window.
But it so happened
that while for the
most part, as I ob-
served, the glass was
plain, there was, just
above the centre, a
small design, neatly
drawn, in steel-grey
colours, and this design
resembled in an un-
canny way the span
of bridge which 1 had
glimpsed on the screen
the previous day. It
was no bigger than a
sketch of a child's toy.
But it was clearly placed so that it
would form part of the picture that
was about to be photographed. By
being so much closer to the camera
than the scene with which it was to
be photographed, it would, I could see,
take its place as a life-sized bridge
in the finished picture.
I knew something about the tech-
nique of miniatures — that is, the con-
structed kind, which, I recalled, looked
very much like playthings. I wondered
if this was a new variety. Certainly
it was nothing like the ordinary type.
I had seen many of these, used fre-
quently in small pictures, and occasion-
ally in large ones, and comprehended
how they could be employed to pro-
duce the effect of railroad wrecks,
eruptions of volcanoes, fires, and even
floods. But I could not conceive
that the plate-glass contrivance was
suitable for any of these effects.
Upon inquiry 1 learned that it was
a somewhat recent innovation. It
was being used in the serial that I
was watching merely to obtain an
added touch of realism, which other-
wise would have necessitated a trip
to New York, or a complete faking
of the scene. It had this peculiarity
NOVEMBER 1922
Pict\iK2s and PictureQuer
13
that it could be made to Seem part oj
a real setting. Similarly, 1 found out,
the idea was utilised in many other
pictures, frequently for economic rea-
sons, but, on occasion, I learned,
because it actually enhanced their
artistic quality.
I could cite instances of its use,
but I hesitate about spoiling the
illusion for the picture fan. Still, 1
might mention that in Harold Lloyd's
Sailor-Made Man, in the scenes show-
ing the Oriental town, the upper
vista of minarets and domes was
cleverly sketched on plate glass, and
photographed so that it "hitched on "
to the lower portion of a palace, whicli
was actually constructed. And in
the scenes in the interior of the
harem in the same picture, a very
ornate miniature dome was supplied
for the abode of the Sultan's wives.
It was patterned so like the rest of
the interior that you would not be
able to discover the difference on the
screen.
When you see The Masquerader
there is a portion of the Parliament
building, visualised through a minia-
ture, which you will not be able to
distinguish as separate from the actual
settings. It so happens that this
miniature was not painted at all, but
actually built. It had tiny pillars,
cornices, and carvings that " matched
in " perfectly with the rest of the
structure. It was suspended right
near the camera in such a position
that it photographed as the upper
portion of the construction. It gave
to this an imposing height that could
not otherwise have been satisfac-
torily achieved. For this particular
setting was erected right on a covered
stage, and would have had to go
An elaborate set at the Goldivyn studios. The buildings shown have no }>acks.
through the roof if it had been built
up to give the desired height, the
illusion of which was produced exactly
as well by the miniature.
Even so magnificent a production
as Robin Hood could not realise its
full legendary grandeur and beauty,
its fairy-tale charm, were it not for
the judicious use of the more scientific
illusion and camera magic. Everybody
who has visited the scene of the Fair-
banks production knows that the
settings are sufficiently gigantic to
stir the fancy, but by the employment
of subtle art work, these same settings
can be given a glorious imaginative
quality. The chief thing in a picture
A movie village, built by William Fox, and destroyed in " The Town That Forgot God."
Note the wind machine in background.
is having the action human and real.
Whatever is added in effects, be they
real or tricks, but increases the splen-
dour, the glamour of the spectacle.
Everyone can realise that it is
much less expensive to cause a train
wreck by running two toy locomotives
into each other than to perform the
same stunt with life-sized ones. Both
methods have been used, and some-
times it is impossible to discern the
difference in the result on the screen.
There are no doubt many persons
who saw The Old Nest to whom it
never occurred that the railroad
wreck near the end of that picture
was made by miniature trains on a
miniature trestle. Volcanoes also are
usually manufactured. The natural
ones are too obstreperous to be
monkeyed w:ith when they are in
action. Consequently it is safer for
the studio to obtain some fireworks
and make its own Vesuvius.
Every once in a while in my travels
about the studios I bump into some
extinct volcano about as bigas a sand
pile. There is one that I saw recently
which stands in an improvised bay
somewhat like a goldfish pond. On
the shore adjacent to the dwarf crater
are some toy houses. A youngster's
sail-boat is in the water near by
looking derelict and forlorn.
Very important is the obtaining of
the illusion of distance. Real dis-
tance, as you know, is recognised, in
nature or in a picture of any sort, by
atmospheric haze. To get this in a
miniature they sometimes hang veils
of gauze between the camera and the
tov replica of the volcano, or what-
ever it may be. These veils give the
effect of haze where it is needed, and,
if cleverly managed, offer the en-
hancement of atmospheric perspec-
tive. With such careful handling even
the simplest and most mechanical
type of miniature will assume the
charm of reality.
14
Pictures and PictureOuer
NOVEMBER 1922
(?uritar\ia
Ramon Navarro as " Rupert of Hentzau."
It may seem a far cry from the
fur-clad cave-man of the Stone
Age to the picturesque scarlet-
and-blue uniformed gallants who
in The Prisoner of Zenda breathe
the spirit of romance from the
screen. Yet our prehistoric
— ancestors were not without their
influence in deciding Rex Ingram
to reflect on the film his million-dollar
version of a famous romantic story,
which has already been screened on
several occasions in the past.
" Woman," Ingram claims, "is
tired of the very modern young hero
who conducts his battles over a roll-
top desk with a pen and a cheque
book. She wants, instead, the duel — ■
the rapier — and equal finesse in love-
making. She sighs for the romantic
lover, gaily costumed, and one who is
something of a scintillant sinner."
So Hex Ingram decided to cater for
this revival of the cave-man instinct,
by devoting his genius to a spectacular
reproduction of a romantic play which,
during ro< <nt years, has made stage
history.
The brilliant young producer .of The
Four Horsemen of the Apocalypse
gathered around him the most hand-
some men and women of rare beauty
to portray the story of the weak and
self-indulgent King Rudolf of Ruri-
tania, his scheming courtiers, and the
daring impersonation of the dissolute
monarch by m English aristocrat,
whose adventure intrigues him into a
■ ■
Lewis Stone and Alice Terry.
romantic love affair with the beautiful
Princess Flavia.
Ingram has utilised his imagination
to reflect the most spectacular side of
The Prisoner of Zenda, and the costly
sets, amidst which the famous romance
is played, excel anything that has been
associated with it on the stage or screen.
The coronation scene is a colossal
spectacle— hundreds of court ladies,
members of the diplomatic corps, and
royal attendants creating a wonderful
kaleidoscopic effect of colour.
With characteristic thoroughness, In-
gram devoted much study not only to
the design of the uniforms of the cour-
tiers, but also assisted in the creation
of the elaborate costumes of the beauties
of Ruritania. Alice Terry, who plays
the poignant part of the Princess
Flavia, whose sad love story provides
that rare event, the unhappy ending
on the screen, wears one gown valued
at five hundred pounds. Her husband,
Rex Ingram, designed it entirely of
costly old Venetian lace, adorned with
pearls.
Added romance is lent to beautiful
Alice Terry's artistic performance by
the fact that it was during the pro-
duction of the film that she married
Rex Ingram.
Black Michael " (Stuart
Holmes) and "Antoinette "
(Barbara La Mart:)
1
NOVEMBER 1922
Pictures and Pic Fur e Over
15
Lewis Stone, an English actor, plays
the dual parts of Rudolph Rassendyll
and the King of Ruritania ; and, al-
though only recently he forsook his
characteristic virile fighting roles in
the fro/en wastes of the great North
West, he justifies Rex Ingram's belief
that he was capable of subtler screen
characterisations. The Metro director
was impressed by Lewis Stone's extra-
ordinary adaptability when he stepped
from rugged parts, such as he played
in The Rivet's End and The Northern
Trail, and, throwing aside the rough
mannerisms of a fur-clad trapper, he
figured in the film play, The Concert,
as an artistic, refined virtuoso, with
long hair and slim fingers that caressed
the keys of grand pianos.
In The Prisoner of Zenda, Lewis
Stone's artistry is put to a severe
screen test. For, where double ex-
posure is involved, during which pro-
cess the Metro star appears on the
screen, through camera trickery, side
by side with his shadow self in two
different roles, a premium is nfaced
on his art. For the subtleties of t make-
up," facial expression and rr/nnerism
are drastically subjected to b, process
of comparison.
Barbara La Marr, the new screen
beauty, who comparatively recently
loomed large on the horizon of film
stardom, plays the part of the beau-
tiful " Antoinette de Mauban." She
demonstrated in The Three Musketeers
her ability to wear luxurious costumes
with distinction ; and in The Prisoner
of Zenda she is equally effective in
the ornate costumes of the Court of
Ruritania.
A handsome b:unette with big ex-
pressive brown eyes, Barbara La
Marr brings a netv beauty and
romance to the famous
character of the court
favourite who, with a
smile on her shapely
lips, assists the intrigues
of State.
But it is Ramon
Novarro whom
Rex Ingram regards
as his great dis-
covery. He ha? cast
him in the role of
Rupert of Hentzau,
the dashing, duel-
ling court conspira-
tor who, Ingram
believes, reflects the
exotic personality
that will appeal to
the fair sex, who
are tired if the mod-
ern silk-Hatted and
frock-coated lover.
Ramos in real life is a
handsome, black-haired youth,
who hails from Mexico, and who
is a comparative newcomer to the film
firmameit.
In The Prisoner of Zenda, he has
followed the example of Arthur Bour-
chier, *-ho grew a beard for his stage
part o< King Henry VIII.. for Ramon,
as " Rupert of Hentzau," has sprouted
a trim black beard and moustache,
which set off his flashing dark
eyes, that are characteristic of
those hailing from the banks of
the Rio Grande.
He has something of the fas-
cinating smile of Eric Von Stro-
heim, and he wears a monocle
with similar nonchalance.
Rex Ingram has brought an
impressive realism to the spec-
tacular court scenes of The Prisoner
of Zenda, for he has lived up to his
reputation of being one of the most
prodigal of modern producers, where
lavish display is concerned.
For Ingram has set out to eclipse
any previous stage or screen version
of The Prisoner of Zenda, and in
this direction he has certainlv suc-
ceeded, although he has had to dip
deeply into the studio coffers to
cater for his ambitious artistry.
Black Michael "
and " Princess
Flavia."
Above : Rudolf Rassendyll
fights with Rupert of Hentzau
and Black Michael.
Right : Rupert and Antoinette,
de Mauban.
16
Pictures and RictureQoer
NOVEMBER 1922
Nero
i
Jacques Gretillal
^» as " Nero."
I ^r ▼hen Nero's
\ ^ / many thou-
\y \J sand-pound
yf Y film city was
destroyed
by a giant conflag-
ration, which pro-
vided the concluding
thrill for the huge
.spectacular Fox film
of Roman history,
the gauntlet was un-
doubtedly thrown
down to Vesuvius,
in the shadow of
which the picture
was produced. For,
even with super-pic-
tures, the public are
more critical in these
days, and greater
realism has to be
obtained with a pro-
digal disregard for
expense.
Rome was " re-built " for the pic-
ture on a hill on the right bank of the
Tiber, the streets, the houses, palaces
and monuments being designed after
lengthy study of Roman historians.
The arena, where the Christians were
thrown to the lions, was constructed,
with all the colossal pillars and marble
terraces which are associated with
this grim arena. In an immense
square in front of the palace was
placed the great statue known
to history as the
Colossus of Nero,
and so huge was its
dimensions that the
cameras had to be
moved to a ■ spot
fifty yards away in
order to include its
colossal proportions
in the lenses.
r ' ' -■;- ^w -— ,.
Two scenes front Fox's great spectacular drama.
Not content with transporting a
cast of several hundred people to
Italy, J. Gordon Edwards, the Fox
director, engaged sixty-five thousand
supers for Nero on his arrival in the
land of sunny skies.
Specially prepared film was used, of
the panchromatic type, which enabled
the celluloid to register with greater
accuracy and picturesque effect
the Italian sky and cloud
A lexander
Salvini as
" Horatius."
effects, and the bril-
liance of the sun was
subdued when it was
reflected on the screen.
The task of engaging
sixty - five thousand
people for the big
sceies was a difficult
one in the compara-
tive y deserted part of
the i ountry where Pro-
ducer Edwards had
his cuneras at work.
He hit on the ingenious
expedient of engaging
two aeroplanes for a
week prior to the re-
hearsal of the scene in
which he required his
colossal army of extras,
to fly over Rome and
the surrounding coun-
tryside dropping pamphlets. These
communications offered jobs before the
cameras for anyone who picked up a
leaflet, and this novel scheme was suc-
cessful in producing the required
players.
During the colossal fire scene,
Director Edwards kept in v.ouch with
the thousands of playt rs moving
within dangerous proximi ;y to the
flames by means of wire'ess. This
enabled him to judge from the
reports of his assistants speaking to
him by radio from the
heart of the inferno
of the actual con-
dition of affairs, and
to give order for the
desertion of 1 he flam-
ing city « hen it
became too drmgerous
for tlic artistes
NOVEMBER 1922
Pictures end Picture $oer
17
Plea.se Kis/AW Wife!
P. RUSS&LL /M^LLINS^7N
'hose who see a beautiful woman
on the screen being made pas-
sionate love to by a film Adonis
little realise the ironic truth
that not only is the fair lady's
husband probably a spectator
of the scene, but he is shouting
encouragement to the lover to
inspire him to become more
fervent in his kisses. For the topsy-
turvydom that inevitably happens
when husbands and wives are both
associated with the creation of moving
pictures on occasion produces a
strange mesalliance. Yet, despite the
fact that Elinor Glyn recently
stated that " it isn't human nature
for a producer to force his wife into
the arms of an Adonis day after
day without getting jealous," friction
seldom occurs. " Pistols for two and
coffee for one " are not the result of
a realistic love scene enacted before a
husband's eyes. Congratulations on
the realism with which the screen lover
has embraced the wife of the man who
is behind the director's megaphone is
generally the less romantic sequel.
Bob Leonard spends hours on the
studio floor directing his wife, Mae
Murray, during her spectacular love
scenes, which in the case of this
vivacious, blue-eyed blonde lack little
in passionate realism. With business-
like seriousness he instructs her in the
finer shades of flirtation, to the effer-
vescent love-making episodes which
most effectively radiate from the
screen the personality of this film
butterfly of fashion and folly.
Imagine a movie director giving voice to
the injunction that forms the title of this
article. Elinor Glyn says it can't be done,
successfully ; but if you read the article,
you will find that many movie stars are
directed by their husbands, with con-
spicuous success.
In Peacock Alley, when Monte Blue
had to make passionate love to Mae
Murray,- he did not display sufficient
enthusiasm to please big Bob Leonard.
"Take her in your arms; kiss her
again as though you meant it ! " he
bellowed. " Close your eyes and make
it dreamy."
For Mae Murray and her husband
are much too happily married to let
jealous misunderstandings interfere
with their work in the studios. >.'o
temperamental artist could put the
best into her work if she had to enact
love scenes before a scowling husband
whose imagination created suspicions
that had no foundation in fact. The
sinister green-eyed imp of jealousy has
no place in the associations of a director
and his wife manufacturing machine-
made romance beneath the arc-lamps.
" Allan is too much of an artist to
be influenced by any silly sentimental
imaginings when he is directing me in
my love scenes," confesses Dorothy
Phillips, whose famous husband, Allan
Holubar, produces all her pictures.
In Man - — Woman — Marriage,
Dorothy Phillips's latest screen con-
tribution, Holubar not only had to
force another man to make violent
love to her on the studio floor, but he
had to shout through the megaphone
encouragement to the various players
who brutally ill-treated her, including
a muscular Roman centurion who
flogged her bare shoulders with a cat-
o'-nine-tails.
" Directing one's wife in a love scene
is in no way an ordeal compared with
having to produce a scene in which
18
Pichjres and PictureQuer
NOVEMBER 1922
I
she has to risk her life," admits Allan
Holubar. " My emotions when Dorothy
rode at the head of two thousand
Amazonian women in a recent screen
battle scene were far more dis-
tressing than watching a good-looking
young actor embrace her for the
purposes of screen art."
Nazimova throws herself into an
abandon of love-making under the
cold, critical eye of her director-
husband, Charles Bryant, who pro-
duces her pictures. But the " star
of a thousand moods," describes the
most romantic scenario as "a cold
hash of many people's ideas, served
without garnishing in the direction
of love-making, romance, moonshine,
or heroism."
" If my husband was inclined to be
jealous, which he most certainly is
not," laughs Nazimova, " I should
have expected him to betray such
foolish symptoms when I was on
the stage. For a sentimental scene
in a film studio is played but once,
and it is forgotten, whereas a per-
formance behind stage footlights is
repeated night after night, and per-
haps in time it may prove trying to
an impressionable husband who has
to ^it and watch his wife continually
Above : Bob Leonard directing his wife,
Mae Murray, who is seen (left) in a love
scene with Monte Blue, that was directed
by her husband.
mUde love to by the same man."
" When you come to analyse it,"
says King Vidor, the film director,
who produces pictures for dainty
Florence Vidor, his wife, " the man
who has to inspire his wife's film
love scenes is in a far better position
than the director dealing with a
comparatively strange artiste. For
a husband knows how to get the
best out of his wife, and he under-
stands the most effective methods
of playing on her emotions. I know
that my wife is happiest and able
to produce her best work when
she is surrounded by artistic room
decorations. So her dressing
apartment at my studio has been
furnished with old mahogany, and
picturesque chintz and vases
add to the colour-scheme. That
is but one example of how a
director-husband can practise
those intimate attentions which
foster good work in the studios."
Not only did the youthful Rex
Ingram, the famous Metro producer,
coolly direct the passionate love
scenes of the beautiful Alice Terry,
in The Four Horsemen of the Apo-
calypse, although he was head over
heels in love with her at the time, but
he married her a short time after.
Which provides convincing evi-
dence of the fact that screen love is
only a flicker, for Rex Ingram was
in some directions put to a greater
test, forcing Alice Terry into the arms
of her film lover during the roseate
days of his courtship, than at a latt-r
:
NOVEMBER 1922
F/cfvres and Kicr\JKeOoer
19
period when the intimate under-
standing of husband and wife brought
greater trust.
Rex Ingram is contemplating the
production of Jonnhoe on the
screen, with his wife in the leading
feminine role In this historic ro-
mance he will have to utilise his
megaphone to good purpose in
encouraging gallant knights to seek
the ha 'id uf the fair Alice.
Marshall Neilan is another pro-
ducer who recently fell in love with
the very girl that he was directing
in hectic love scenes in the studio.
Pretty Blanche Sweet, whose Dres-
den china daintiness has brought a
breath of romance to numerous
screen love stories, was associated
with Micky Neilan for some time
before she became his wife. Pro-
bably Neilan discovered, however,
the emptiness of make-believe love
beneath the arc-lamps when he
played before the cameras with
Blanche Sweet in Classmates.
Sessue Hayakawa to a large ex-
tent influences the direction of the
pictures in which he appears, but
when his wife appears on the set he
invariably forsakes the producer's
end of the megaphone in order to
act with her before the cameras.
" The greatest joy of my life is
to make love to my own wife,"
admits the talented Oriental. In
The Street of the Flying Dragon
Sessue put a great deal of under-
standable realism into his love
scenes with his wife, Tsuru Aoki.
After their romance, which com-
menced during the filming of The
Birth of a Nation, in which they
were both playing, Miriam Cooper
and Raoul Walsh have been asso-
ciated with many successful photo-
plays as director husband and leading
lady wife. It was Raoul Walsh who
recently introduced his wife to the
screen in the new role of a vampire in
Evangeline, and his work behind the
megaphone converted the innocent-
eyed Miriam into a wrecker of homes
and a stealer of hearts.
There is a very human reason for
love in a studio being unlikely to
arouse any deeper sentiments than
those of the surface variety necessary
for the art of miming, for the most
beautiful woman, when she is made
up for the cameras, does not look par-
ticularly attractive at close quarters,
with her face painted an unbecoming
yellow and hei eyes smeared with
black grease-paint..
All of which goes to prove that the
eye of the director-husband watching
the passionate love scenes of his wife
is as cold and business-like as the eye
of the film-camera itself.
Right : Florence Vidor with her director-husband, King Vidor, and their baby girl.
Below: Nazimova in a love scene from " Salome," directed bv her husband, Charles Bryant.
.^|Vt
20
Picture 5 and Pict\JKe$Qer
NOVEMBER 1922
Eric \'<>n Stroheim as " Count
Sergius." Mar Busch as
Princess Vera."
N* 'ineteen months of strenuous,
nerve-racking work, the
^ most elaborate sets ever
constructed in California
since Griffith made In-
tolerance, and more than
a quarter of a million
feet of film, plus the in-
disputable, though perverse genius
of Eric Von Stroheim, went to the
making of Foolish Wives, surely
the most discussed movie of the
season. There was also a matter
of ^300,000 in solid cash. Foolish
expenditure, according to some ;
but resulting in ' a picture magni-
ficently spectacular, writh acting
and photography and direction of
the finest. The story, it is best to
disregard as much as possible ;
certainly Eric has well earned the
title of " The Worst Man in the
Movies " for his clever, but repul-
sive and sinister villain-in-chief,
" Count Sergius Karamzin."
The scenes are not entirely
spectacular : there are some in a
witch's hovel on the edge of a
lonely marsh, which gave the pro-
ducer and his players all they
wanted in colds and coughs. They
worked knee-deep in water for
several days at a stretch.
The leading man, Rudolf Chris-
tians, caught pneumonia, and died
suddenly, when the film was more
than half completed ; and it was
thought that the whole thing
would have to be re-taken. Even-
tually, though, Robert Edeson
" doubled " for him so successfully
that no one would realise they
were watching a substitute, had
the fact not been made public.
For the " close-ups," however,
this would not do : for though in
build and general movement
Christians and Edeson are iden-
tical, their features are different ;
and for awhile even Von Stroheim
was nonplussed.
One of his assistants bethought
him of several reels of a feature,
made and since discarded, in
which Rudolph Christians figured,
and suggested running it through
in the hope of finding there a foot
or two of suitable material.
It seemed a forlorn hope, but
Von Stroheim, recalling that the
plot of this earlier .vork was
slightly similar to Foolish Wives,
and that there undoubtedly had
been a lot of close-ups, thought
it a possible loophole, and eagerly
snatched at the idea. So he and
his co-workers, an excited little
group, began a systematic search,
for nobody knew exactly what
had happened to the reels of film.
From the developing rooms to the
theatre they were traced ; thence
they had been stored away for a
time ; but turned out to make
room for something else.
Somebody felt sure they had
been destroyed : but someone else
was equally certain they had not.
1NW V ClYlDE-rX I7ZZ
ricr\jre5 ar\Q K/crurevoer
21
Eventually, dusty but jubilant, the
search-party found what they were
seeking amongst a collection of odd
material marked down to be taken
away ; and there, sure enough, were
many scenes in which the late actor
figured. By careful selection and
interpolation, it was now possible to
complete the film, using " close-ups,"
of the real Christians when abso-
lutely necessary.
Of the dozen or so principal sets,
the duplicate Monte Carlo Casino is
the most perfect as well as the most
expensive. The front, with its three
buildings, went up at Universal City,
where it was the centre of interest
for many months. Especially at
night, when many of the best scenes
were taken; for the roof of the " Cafe
de Paris " building, as can be seen
in the film, is studded with electric
lights exactly like the original.
The circular Park, too, with its
gorgeous palms, flowers, and mag-
nolias, was a thing of great beauty.
Titled " The Roadway of Chance," a
complete paved thoroughfare con-
nected the three buildings, with .an
electric car service exactly like the
one which runs to Nice and other
towns near Monte Carlo itself. At
night, this was illuminated by seventy-
five specially designed street lights,
assisted by fifty " arcs."
The castle, which figures prominently
in the story, was erected at Laguna
beach ; and other Monte Carlo ex-
teriors, for which a sea view was
essential, went up at Catalina Island.
But, dissatisfied with the location,
Von Stroheim had them removed
to Monterey, which was ideal, from
his point of view. Not so from that
of the workmen, for the high winds
blew scaffolding, paint-pots, and para-
phernalia of all sorts into the sea,
and it took weeks before everything
was ready. The crowds of extras were
reinforced by many prominent Society
folk, who enjoyed acting as " atmo-
sphere," as a new form of recreation.
The mammoth production held its
full share of accidents for the director.
Quite early in the year, Von Stroheim
and a couple of assistants went in a
launch round the rocky coast of
Monterey, looking for some special
scenery. A submerged rock caught
the keel ' of the boat and overturned
it. Luckily, a fishing party saw and
rescued them.
"Later on, during the filming of the
rescue of the ambassador's wife by
the Count, a severe storm all but
blinded the actors. Margaret Arm-
strong (or Miss Du Pont, as she prefers
to call herself) looked askance at the
weather, so Eric volunteered to re-
hearse, carrying a man across the
bridge and down the bank to the
waiting boat. So, carrying a smiling
" extra," the Count commenced his
scene again. Unfortunately, he slipped
over a stone, and both lost their
balance and rolled down the bank.
The deputy heroine was quite safe,
but Von Stroheim wrenched his back
badly and was out of action for a
week. Kleig-cyes, burns, and the
usual quota of bumps and bruises are
part of a director's daily risks, and
Eric had plenty of each.
After wrestling with his completed
work for six months, Von Stroheim
folded his arms and sat back in his
chair for awhile. But the final editing
and cutting was done by another,
and the author-director declares that
episodes he would have discarded
have been retained, and vice versa.
Apart from its appeal to excitement-
eaters, its originality of direction,
vivid backgrounds, and skilfully de-
picted though unpleasant charac-
terisation are undeniable. And Von
Stroheim is the central figure always,
in a character-study similar to the
one he gave in Blind Husbands—
only far more so. He and his con-
federates, Maude George and Mae
Busch, indulge in various kinds of
crookery, but meet the ends they
deserve ; so that the moral is all
right, though the manner of pointing
it be extraordinary.
Stroheim, Maude George, and Mae Busch.
22
Pict\jK25 and Picl-vireOuer
NOVEMBER 1922
he Movies' Or\ly Hope
TAE; tAQM \h TME PROMT SEAT
/
Charles Chaplin.
" Who but Chaplin has held the world in the hollow of his hand ? Irving at his
greatest was a pigmy, an unknown, by comparison. The triumph of the motion
picture has been such that it could have obliterated every publisher on earth, and every
theatrical magnate. It has not nearly done this. It is even said by many that the
motion picture has reached, even passed, the limit of its appeal. If this is so, can
anything be done about it ? "
'"^ ut are the Movies a great art ?
1 And, if they are not, why
1-^ are they not ? And can they
\ be ? And how ?
1 It has become a kind of
m fashion to speak of motion
^- J pictures as if they were a
^^ great art that, by filling in
the spare corners of literature
and the drama, had succeeded in sup-
planting both. Stories are made to
move, and the cramped action of the
stage is enabled to be stretched to the
ends of the earth. Literature at its
best (it is hinted) has been but a com-
promise— life told of and not seen ;
the drama has been a strange thing of
canvas castles and wooden grass and
sunshine that came at once from the
north, south, east, and west. They
had developed just as far as they
could develop, and they had stopped.
Something better was needed to carry
their mission further, and (say the
enthusiasts) in the kinema that some
thing better has come to be. No longer
do we hear stories : we see them. Real
castles and real grass and sane sun-
shine no longer baffle the stage-
carpenter of old ; they obliterate him.
The motion picture was a long time
happening, but now it has happened
it is the greatest thing that ever
happened.
But is it ?
It has achieved many marvels. If
sheer " look-at-able " beauty were all-
triumphant, the stage must long ago
have perished. Some of the back-
grounds of motion-picture plays have
plucked the topmost star. The screen
may develop to extents unthought of
now ; it will never surpass (because it
would be an impossibility to surpass)
some of its past scenic triumphs.
Colour may become a common thing ;
stereoscopic effects may become no
longer a matter for wonder ; but for
sheer pictorial beauty, the massing of
lights and shadows, lines and per-
spectives, tinyness and vastness, the
motion picture of to-day has reached
the limit. The last word has been
spoken. It may be that this word will
some day be spoken with a finer
accent, but it is certain that no other
word will be substituted. In other
words, if there is development at all,
it will be only technical development.
And there are motion-picture actors
as great as any on the stage. It has
its great personalities. What theatre
actor has known the triumphs of
Fairbanks and Mary Pickford ? Who
but Chaplin has held the world in the
hollow of his hand ? Irving at his
greatest was a pigmy — an unknown — ■
by comparison. The triumph of the
motion picture has been such that it
could have done more than obliterate
the stage-carpenter of old ; it could
have obliterated every publisher on
earth, and every theatrical magnate.
Or very nearly so. It has not done
this. It has not nearly done this.
The theatre is indulging in a fresh
flourish. We are told that the pub-
lishing business is becoming brighter
day by day. But there is little sign
of a new spurt in kinema building. It
is even said by many that the motion
picture has reached — even passed — the
limit of its appeal. Is this so ? And, if
it is so, can anything be done about it?
First of all, it would be wise to in-
quire into this matter of the Movies'
greatness as an art. And it is on this
very matter that I disagree with every
knowing one of my acquaintance. I
am told that the Movies are a great
art. I say No. They are not a great
art. They have never been within a
mile of being a great art. On the other
hand, I hear that they can never be a
great art ; and here I disagree again.
Most emphatically they can. They are
not. But they can.
Art is creation, arranged creation, as
distinct from the chaotic creation of
nature. I do not say that the orderly
creation that men call art is a finer
thing than nature's chaos ; I am not
going to say that it can, cannot, should,
or should not in any way influence that
chaos. I am not going to say that it is
important, nor enter into any con-
troversial details about it. I am merely
going to say that it is a form of orderly
and perhaps small creation. This is
indisputable. Now it is perfectly plain
that, within its obvious limits, art is
capable of greatness. The first drama
was a fool's play, no doubt ; but it came
about that Shakespeare wrote " The
Tempest." The first story may have
been the very crudest thing under
the sun ; yet after the centuries
Thomas Hardy wrote " Tess." I am
not saying that Shakespeare was
greater than the universe : I am merely
saying that " The 'empest " is as great
as a play of its kind can be. I do not
NOVEMBER 1922
Pictures and RicFurepoer
23
say that it is the greatest play of all.
I do not believe in such a thing any
more than I believe in the greatest
motion picture. But, of its kind, in-
disputably it was great.
And there is a test of this great-
ness, a rule to lay across every drama
and every piece of fiction, to measure
its greatness or lack of it.
Man may be a great thing or a small
thing, but, whatever he is, obviously
he can create no greater thing than
a man. And it is by his created men
that the artist is judged. These may
be ideal, they may be merely comic ;
but unless there be a recognisable
spark of greatness in them, the artist
can lay no claim to greatness in
himself — indeed, is not an artist.
Strip Dickens of his Micawbcrs and
his Svvivellers and his Mantalinis, and
he sinks to the level of the
lowest hack who ever wrote
halfpenny shockers. Take
away Portia and Shylock
and Falstaff and the rest of
them and Shakespeare be-
comes worthy to black the
boots of the Brothers Mel-
ville. They were only men.
They could create nothing
greater than men. But — they
created great men. They were
sublime artists of their class.
There are a million great
created men of the stage and
the page. There is not one of
the screen.
Even everyday journalism
has its Old Bills, its Mr.
Dooleys, its Mutts and its
Jeffs. The motion picture has
nothing.
I have said that the screen
has no great created man, no
wonderful character akin to
Falstaff and Micawber and —
if you will — Sherlock Holmes.
I am wrong : there is one.
There is the inscrutable thing
that shuffles through life with
a little cane and a little hat
and a moustache that baffles
the powers of description —
the figure that Chaplin has
immortal. He — -or it — has no name.
I do not know what to call it. But
I do know that its name is not
Chaplin. The immortal tramp is no
more Chaplin than- -let us say —
Shylock was Henry Irving. He is
not Chaplin, as, for example, Jubilo
was Will Rogers, or Zorro was Fair-
banks. In short, Chaplin is what few
people of his generation will give
him the credit of being — he is a
creative artist. I shall not say that
his creation is the greatest thing of
all time. It may be only the greatest
thing of the smallest things. But it
is great, and it is created, and there-
fore it is art. And the motion picture's
tragedy is that Chaplin's immortal
creation is the screen's ONLY immortal
creation.
What the motion picture wants,
then, is creative artists. It has the
millions — both of money and of
people—it has the facilities. But it
has not — and there is no sign that
it very soon will have- its creative
artists. Why does it not get them ?
There are a number of reasons;
but there is one great one. The
mighty characters of the stage and
the book have some degree <>f per-
manence. They live on. They do not
flash for a brief moment and then die.
They do not appear " for three days
only " and then vanish into the un-
known. Therefore, their creators
prefer to give them to some art
where they will not be smothered in
their cradle, so to speak. Arnold
Bennett could create a " Card "
especially for the screen. But he
doesn't ! Hall Caine could create a
character just as good as Pete for
the motion picture instead of the
The
made
future of the motion picture lies entirely in that despised
thing, the Serial."
publisher. But he doesn't. The
kinema has all its millions to coax
all the greatest creative artists to
give all their great created characters
to the screen — and it cannot coax one
of them ! Because the characters are
too good to die young, and the motion
picture has no means of keeping them
alive.
The re-issue is hopeless. It could
become what taking down an old
favourite from the book-shelf for half-
an-hour now and again never does
become — tiresome. A classic may not
be re-issued when we are able to see
it. On the other hand, a film cannot
remain upon the screen for years, as
a book can remain upon the shelf,
so that we may feed whenever we
feel hungry.
But there is a way, and Chaplin
has shown it in its crudest form,
//c has kept his tramp alive by
the dazzingly simple process of not
killing him. He has done the sanu
thing again and again. If the first
Chaplin film had been the last, the
immortal tramp would have perished,
faded from] memory, not been im-
mortal. But the first Chaplin film
was only the first, and dozens have
followed. We have not forgotten the
immortal tramp because un have not
been allowed to forget him.
But Chaplin's art is, a primitive
thing — crude, if you will. We cannot
conceive of Shakespeare perinitt u i l;
Falstaff to wander haphazard into a
story that is no story at all, and to re-
appear later in another that is even
less of a story than ever. Chaplin's
method is suited to Chaplin's creation ;
but it would not be suited to the
creations of a Dumas, or a Dickens.
Some sort of " tightness,"
of shape, of continuity is
necessary. And in this
word "continuity'' we have
the key to the solution. It
is my decided opinion that
the future of the motion picture
lies entirely in that despised
thing, the Serial.
When Mr. Micawber comes
to the silver sheet he must not
come to flash cheerfully for
seventy-five minutes in some
i^-^j in;i iequate " feature film,"
and then vanish for ever. He
Vj must come to sta\ long
^11 enough to be our friend for
^1 the rest of our life. He must
live long enough to live for ever.
And five reels arc not suf-
ficient. Forty are not suf
ficient. A hundred may be.
Twenty weeks, at five reels a
week ! Then it would not be :
I don't know whether to go
to the movies to-night or not."
It would be " I'm going to
see old Micawber to-night
(or Muzzlewick, or whatever
he will be called) — I wouldn't
miss him for worlds ! "
Stars are very fine men, and
they have served a purpose,
but what is wanted is the
super-man — the wonderful creation—
the man that never lived, but should
have done.
Look to the Serial, I say. Not the
inane monstrosity that we know as
such to-day, but a. great picture that is
too great to be glossed over in an hour
and fifteen minutes — or two hours, or
three. The " feature film " that we
have now is doomed- -or the motion
picture itself is. Which is it to be ?
For twenty weeks the public took
Pickwick serially. For twenty weeks
they would crowd the picture palaces
to see something as great. They
would love the great characters that
they have never been given the oppor-
tunity of seeing. They would ask for
more and more, and yet more. The
same great people in the same great
story, unfolding with genius's touch
week by week that is the hope of the
motion picture.
But is the motion picture listening ?
24
Pictures and Picture Qoer
NOVEMBER 1922
George turner, Madge Stuart, Julian Royce, and Bromley Davenport in " Running Water."
British Slxidiu Qjssip
Doris Eaton in " Tell Your Children."
An Announcement from Alma.
Alma Taylor's next appearance on
our screens will be in the New Year.
" The film," she told me, when 1
begged for details, " is from an
original story, The Pipes of Pan, I
play lead, and T. H. Mulcaster, John
MacAndrews, and a delightful kiddie
who will charm everybody play with
me." Alma, who looked trim and
ready for anything in one of her
favourite tweed costumes, declared she
was motoring back to Walton that
afternoon, and refused to divulge much
about the plot of The Pipes of Pan.
It is, of couise, a Cecil Hepworth
production.
For Sequel- Lovers.
Henry Edwards went to Venice, you
remember, with his company when
7 he City of Beautiful Nonsense was
filmed. His latest production, The
World of Wonderful Reality, is a sequel
to the first-named popular story, and
contains many beautiful " shots '
obtained in the same romantic city.
The sun was kind to the little party,
and Henry Edwards has been lost tov
mortal view for the past week or so,
cutting and assembling in its final
shape the completed film.
A New Stoll Film.
Exceedingly like the dashing actor
so long first favourite with matinee
girls is E. Lewis Waller, as you'll agree
when you see him in Running Water.
The picture is based upon A. E. W.
Mason's novel, and impressive and
realistic Alpine scenes are a distinct
feature of it. Madge Stuart is quite
used to the chilly atmosphere of the
mountains, for she has been there on
location for quite a few films.
A Roving Star.
Miles Mander has been across to
Milan and back. He told me, just
before he left, some interesting de-
tails of his future plans. With Adrian
Brunei and Hugo Rumbold, the well-
known authority upon costume and
production, he has formed the Atlas-
Biocraft Company, and active pro-
duction has already commenced. " The
first thing we did," Miles remarked,
" was to sign up my friend Ivor
Novello for six pictures, the first of
which we're making in Venice and
Milan. It's an original story by
Monckton Hoffe, partly eighteenth cen-
tury, part modern, and I don't play
in it."
It Happened in Venice.
That is the working title of the
initial Atlas - Biocraft picture, the
leading lady of which had not, at the
time of writing, been definitely chosen.
Miles Mander seemed to think a
Russian girl with one of those uncom-
fortable-to-pronounce surnames would
be Ivor Novello's leading lady. The
second production will be made in
North Africa, with Miles Mander as
producer and " heavy," Ivor Novello
as leading man, and a very famous and
beautiful stage star as heroine. It is
a fact that Novello received a cable
from D. W. Griffith just after he had
definitely decided to work for the
British concern. They will, however,
release him for one film at least, later
on.
The Compleat Cockney.
Hugh E. Wright, who specially
delights (on the screen) in Cockney and
tramp character rdles, has many other
strings to his bow. He writes scenarios
and stories, excellent verse and lyrics,
and can render comic songs with a
rueful expression and a lugubrious
voice to match in a fashion that is all
his own. He has been on the stage,
too, in revue, and, with a company of
artists sponsored by the late H. G.
Pelissier, presented a delightful little
show for most of which he wrote the
lyrics. Hugh's last completed film is
The Romany, and as " Gipsy Jim "
spent much time under canvas in the
North of Scotland. Some of the most
picturesque scenes were taken in
Glentilt and high up on the mountain-
side above, and, though they had some
fine days, they found it cold there.
The ground was white with frost on
the last morning or two of their stay,
and the atmosphere frigid.
The Gathering of the Stars.
The principals in Rob Roy came
from all corners of the British
Isles where they were " locating " to
sec themselves on the screen. After
the Trade show I noticed Gladys
Jennings up from Shoreham and clasp-
ing the very Scotch terrier presented
to her by some admirers when Rob Roy
was in make up North. The doggie
NOVEMBER 1922
Pictures and Picf\jKe$oer
25
was resplendent with a large how of
Macgregor tartan. The Macgregor
himself (David Hawthorne), much more
human without his hirsute film adorn-
ments, had also returned from location
for this occasion, and was receiving
congratulations on his fine work from
all sides. Sir Simeon Stuart and
Wallace Bosco, the two villains, had
evidently forgiven Gladys Jennings
for her rough-and-ready treatment of
them on the screen. As
" Helen," who is fearless
as well as fair, GJaclys sets
about the wicked ones in
fine style in the course of
her four fights. This
stirring romance is beau-
tifully photographed and
acted. Don't miss it when
it's released.
Film Mother and Son.
From the picture on this
page, Margaret Banner-
man and Peter Dear might
be taken for mother and
son. But they are not re-
lated in any way really.
Pretty Margaret Banner-
man, who plays in The
Grass Orphan, is Canadian ;
and little Peter Dear,
who plays the title-role in
the same film, is a London
kiddie, whose intelligent
work, not to speak of his
delightful appearance, has
endeared him to many
picturegoers. Peter loves
making pictures, and is one
of the most promising
British stars in embryo.
About ' ' The Green Caravan. ' '
Gregory Scott returns to the five-
reeler after a full year's absence in
The Green Caravan, which is adapted
from a novel. " Greg " has been away
too long for British " fans." He has
two charming " opposites," Catherine
Calvert and Mile. Valia. The latter,
looking very lovely beneath a vivid
scarlet hat, gave me an amusing
account of her role. " I play a really
heartless, vampish creature," she said;
" and am well punished by being
compelled to change my name to
Mrs. Hiram J. Mutt. No ; the J.
doesn't stand for Jeff. At present I
am under a curse laid upon me by a
(film) gypsy." She was bearing up
very well under it, anyway. I felt
relieved to hear that " Lilias " becomes
quite human towards the end. Mile.
Valia had been working at Oxshott for
several days, and the company were
about to commence work in the
studios, about which I shall have more
to s^y next month.
Sussex Settings for a New Film.
Walter West and Andrew Soutar
had quite a search before they found
their ideal village for Hornet's Nest,
the new film, which promises to be
highly interesting. Andrew Soutar,
the author, located it in Sussex, in the
novel, but the camera did not approve of the
actual place, so another had to be used. Most
of the characters are villagers, and Violet Hopson
plays a blacksmith's daughter, with James
Knight opposite as the Squire's son. Florence
Turner, too, has a character part, and some of
the most interesting scenes will be those depict-
ing the village fair.
Hugh E. Wright.
Joan Morgan in " Fires of Innocence."
little farther back for his second all-
colour feature film than he did for
The Glorious Adventure. In the
spacious days of Good Queen Bess,
the scenes are set, and Lady Diana
Manners will play the title role — that
of the Virgin Queen. A long all-star cast
has been engaged, with Carlyle Black-
well heading the list on the male side.
" Battling Barrows " At It Again.
Taking advantage of the tail-end
of summer, a company has been busy
on exteriors in the South of England.
Devon and Cornwall figure in so
many screen plays, sometimes under
their own names, others as various
other countries and counties. This
time, scenes were made for God's
Prodigal, a new film which gives
Donald Crisp another exceedingly
unpleasant character to play. " Gen-
tleman Jeff," as he is called, is an
ugly customer, and pretty Pauline
Johnson, who plays in the same film,
declares she had dire visions of
Donald's bad behaviour in Broken
Blossoms when she first saw him in
full make-up. But, though they have
quite a number of scenes together,
there is nothing as harrowing as
Broken Blossoms in " Gentleman
Jeff's " attitude towards the heroine.
Margaret
Bannerman
and Peter
Dear in
" The Grass
Orphan."
Pictures and PictureQuer
NOVEMBER 1922
MABEL JULIENNE SCOTT
Started her screen career in " The Harrier," !>y Rex
Beach <nul has since starred in many screen successes,
including Tin Sea Wolf," "The Translation of a
Savage," and "Don't Neglect Your Wife."
NOVEMBER 1922
Pictures and Picture Que r
27
OWEN MOORE
The Irish - American film star, whose brothers Tom,
Matt, and Joe arc all well known on the .silver-sheet,
has been a popular screen player since the early
Biograph days, when he played opposite Mary Pickford.
28
Pictures and PictureOoer
NOVEMBER 1922
BEBE DANIELS
Started as a child actress with Selig, and then became
Harold Lloyd's leading lady for two years : after which
clever work opposite Thomas Meighan and Wallace
Reid won her stellar recognition.
NOVEMBER 1922
Pictures and PictuKeQoer
29'
DUSTIN FARNUM
Has had a distinguished stage and screen career. Some
of his best-knoun pictures are " The Virginian,'' " The
Squaw Man," "David Garrick," " The Scarlet Pimper-
nel," and ''The Corsican Brothers
Pictures and Picture $oer
fiOVE
NOVEMBER 1922
-._■ wtutam ■ ■
\
I
ERICH VON STROHEIM
Startled the film world with his first production. Blind
Husbands." and has since produced
Pass-Key" and "Foolish Wives"
director he ranks with the master-
As artiste or
inds of the screen.
MOVEMBER !'>22
Picture s and Picture $ uer
3J
Bebe Daniels.
Screen Fashion
Plate
Bebe Daniels displays a distinct-
ive dress of black crepe-de-Chine,
with novel slashed sleeves.
j The beautiful cape worn by
' May McAvoy is of Hudson
seal, with collar of German
fitch.
Virginia Valli wears a sump-
tuous cloak of tailless ermine
and a complete dress of
monkey fur.
7
Gloria Swanson is seen
in an attractive accor-
dion-pleated gown of sealing-
wax-red chiffon, finished with
cinnamon brown shadow lace.
Virginia Valli
Gloria
Swanson.
Virginia
Valli.
32— NOVEMBER 1922
Some glimpses of Little Boston, VI
Ealing, the delightful residence of f^
Eille Norwood. Above : A corner of
the grounds, shov^g a wonderful old
cedar and the remains of another defunct giant. Left : " Qamck's Buckles" — Eille
exhibits some treasures from his theatric*-1 museum.
FILM 5f
Eille I
Few picturegoers know that Eille Norwood is a talented musician and composer. Many
of his compositions have been played in the Kinemas.
Mr.' and Mrs. Norwoot
I
Vturepoer
NOVEMBER 1922—33
;j***.>. ,_■;- , :-f..-._
ex mo/v\e:
vwood
[/ Above :
," A/ra. Norwood. One can hardly
Jl game • of croquet with
imagine Sherlock Holmes * indulging
in this game, but the picture on the
right has a genuine "My dear Watson" touch about it. Bowls is or are one
of Eille Norwood's favourite recreations.
/
Studying a new part. Eille Norwood loves to discuss his characters with his wife
and friends. A master of make-up, he is always devising new disguises.
34
Pictures and PictureQoer
NOVEMBER 1922
Pevonshire House !
How oJd-worldly in sen-
timent ! How quaint ! How
instantly characteristic of
placid conventionality ! How
unlike anything like intrigue
or adventure !
And yet the name, Devonshire
House, embossed in shining brass
letters, greets one as he opens the gate
which leads into a wide, cypress-
studded front yard of a quaint white
mansion on Morgan Place in Holly-
wood, California. Surely I must have
been misinformed, methought, as to
the whereabouts of the particular
kinema siren I was sleuthing for inter-
viewal purposes. Surely a place so
redolent with the atmosphere of peace
and quietude would never be the haven
*of a film adventuress.
It is, however; and, on further
acquaintance, it developed that its
mistress, Maude George, is quite as
quaint a character as Devonshire
House itself; quite as complex in
personality ; quite as European in
aspect.
The house itself has a personality.
It is different from any other house in
Hollywood. Its designer, Arthur
Forde — Miss George's husband, if I
must let out this secret — is a cultured
Englishman whose mind is filled with
old-world traditions ; and Miss George
herself is one of the most Continental
Americans 1 have ever known.
It was precisely because of this
distinct Continental appeal that Eric
Von Stroheim came upon Miss George
for his two latter productions, The
Devil's Passkey and Foolish Wives.
Von Stroheim's individuality as a pro-
ducer is manifest in his so-called
" Frenchy " way of treating his film
stories ; and hence Miss George, with
Glorious
Adventures
An impression of Maude George, the
vampire in " Foolish Wives."
her jet-black hair, her olive com-
plexion, her sparkling, fiery eyes, is an
ideal adventuress for him. To see her
on the screen as " Mme. Malot " in
The Devil's Passkey or as the " Princess
Olga " in Foolish Wives, one would
believe her capable of anything in
villainy.
And so, when I had wandered up the
cypress-grown path which leads from
Centre : Maude
George as
" Princess
Olga " in
Foolish
Wives."
Right : With her husband, Arthur Forde.
the street to Devonshire House, when
I had inhaled the fragrance of myriad
flowers, when I had met Miss George
herself, and perhaps registered my
surprise at seeing her in a gingham
house dress, then was I initiated into
the secret of her home life. *
It's just another case of shock,"
agreed Maude George when I gave
utterance to the thought in my mind.
" No one seems to think film adven-
turesses can possibly be anything else
than villainous in private life ! Not
that we necessarily enjoy being wicked
on the screen. We sometimes find
ourselves cast in such roles because
our type happens to have fitted the
part. In real life we are none of us
as scarlet as the pictures paint us."
It is totally impossible to believe in
her as a villainess — even a play
adventuress — because she has such a
scintillating, vibrant sense of humour.
I guess I'm a peculiar sort of
adventuress, if that's what you insist
on calling me," said Maude George,
" because I don't care for more than
two cocktails in succession, and I can't
smoke cigarettes at all. All through
Foolish Wives I had to smoke long,
intriguing ambassadors because the
Princess Olga,' the character I was
playing, thought nothing of the bad
effects of tobacco usage. This made
it somewhat unpleasant for me."
Personally, however, Miss George
declares she finds villainy in acting
much more interesting than charac-
teristic " straight " roles.
" Mr. Von Stroheim," she added,
" declares that I have the wickedest
smile he 's ever seen."
While she only recently came into
prominence as being one of the truly
great actresses of the kinema, Miss
George is not new to it. She has been
on the legitimate stage with such
actors as the late Nat C. Goodwin and
with James K. Hackett. Her picture
debut was made with the Universal
Company under Lois Weber's direc-
tion five years ago. She played with
William S. Hart in Blue Blazes
Rawden, and with Frank Keenan in
The Midnight Stage, with Enid Bennett
and with William Desmond. And
finally, when Von Stroheim was comb-
ing the film colony for a woman who
looked and could act like a Parisian
woman-of-the-world, a lady of the
Riviera, he selected Miss George.
She is temperamentally a glorious
admixture of the adventuress and the
Quaker. She has all the verve and
brilliance of a Maupassant heroine ;
and yet, within the
confines of her Devon-
shire House— where she
wears her gingham
house-gowns and tends
her old-fashioned
garden — she is
as quaintly
conventional,
as sweetly sym-
pathetic, as the
fragrant, lovely flowers she has planted
and reaped. Tri'M*n B. Handy.
NOVEMBER 1922
Pictures and Picture poer
Teddy Darman took a look
round at the results of his
labours, and he felt very satis-
fied— with his labours, with
himself, and with the world in
general. If things went on at
this rate — what might not
happen ? Promotion after
promotion — marriage — Dora
Wat. ? Yes, very satisfied Teddy
was. Things were happening out as
he had foreseen. Nothing could be
better.
He took another look.
For miles and miles, and more miles
— as far as eye could see — where once
had been only peaceful rural settle-
ments, contented farmsteads and sleepy
orchards, was now the war-looking
waste that betokened the path of the
gold-dredgers — the monster machines
that cut up the land and threw out
the nuggets — the marvels of the brain
of Teddy himself. Teddy smiled a
broad smile as he stared at the great-
est, in action half a mile away. Big !
Mighty ! Like a great, ironclad ship
with legs, striding o'er the land —
almost a vision from a future-dream
of Mr. Wells. There was nothing like
them anywhere else in all the world,
and Teddy knew it. Very satisfied
indeed with things was Teddy. He
had done this ! He alone ! His brain
the one that had created these mon-
sters, his the vision that had wiped
out the futile orchards and made a
gold nugget grow where only an apple
had grown before. Great man !
" There's nothing can stop me," he
reflected, poking yester-
day's ashes out of his i
pipe, and taking another peep at
his handiwork. " Nothing ! We'll
have the whole of Cherry Valley dug
up by next summer, and then "
He strode over a gate and dropped
into a road, and then he stopped at
the sight of a motor-car chug-chugging
along the road towards him.
" Dora, or nobody, I'll bet," he
smiled. And he waited until the car
drew nearer. Yes, it was Dora. He
CHARACTERS:
Teddy Darman - Wallace Reid
John Wade - Alexander Broun
Dora Wade - - Lois Wilson
Calthorpe Masters - Frank Leigh
Silas Hoskins Lucien Littlefield
Silverby Rennie Clarence Geldart
Narrated by permission, from the Paramount
film of the same title.
took off his hat as the car stopped,
and stepped forward with a smile.
But though Dora had stopped to speak
to him, she did not return his smile,
and he saw a little pucker on her
brow, and noticed a hesitancy in her
manner.
" Is anything wrong ? " he asked.
She held out a folded newspaper.
" The Bill is through committee,
and will be law by spring," she re-
plied. " This means that your com-
pany have beaten Dad and the farmers
The
Guld
Dredgers
JQHN FLEMING
in the valley here, and that in a year's
time our homes, and all Cherry Valley
will look like the morning after a
German advance. Look at it ! A
year ago it was the most beautiful
orchard land in all the country.
Now it is a rocky waste. Dad vowed
he would never sell out to you, vowed
he would save his land, and so save
the valley. Now you get this Bill
through, and he will be compelled to
sell — compelled to take money and
leave the land that bred him — so that
you, and the devil-diggers like you,
can find gold ! Is your gold worth
what will happen to these old men
when they are turned out of their
homes ? "
" They will be well paid," Teddy
murmured.
" They don't want paying at all,"
she retorted. " They want to be left
in peace in the country where they have
always lived. They don't want to
see the orchards and the lanes that
they have always known turned into
a desert like this. Look at it ! You
give them money, but where are
their homes ? "
" You can't blame me," Teddy pro-
tested. "I'm only a paid servant
of the company. If I didn't do it,
somebody else would. You know
that."
" You invented the dredgers. You
are chief construction engineer."
" Well ? "
" Well, why don't you invent a
dredger that will not leave the land
a wilderness ? Why don't you invent
a dredger that will relift the soil
after you have passed, instead of
the rocks, and leave the land fit
for cultivation, like it was when
you found it ? Then you would
not find the farmers such bitter
enemies."
" Yes, but " said Teddy. " You
couldn't get the company to listen
to that. They don't care about
the cultivation of the land. All they
want is gold, and so long as they get
it "
36
Pictures and Picture Over
NOVEMBER 1922
" Yes. All they want is
gold. And that is why every-
body here calls them the
devil-diggers, and would
sooner part with their life
than their land to the city
fiends who come to make a
wilderness where the people
have built a home."
" Well," said Teddy, '* if
I could do anything "
And they left it at that.
Two nights afterwards,
there was a knock on
the door of the little cottage
home of the Wades, and old
farmer Wade, answering the
knock, was surprised to find
that the man on the door-
step was none other than
Teddy Darman, and that in
Teddy's hand was the long
blue roll that betokened a plan of
another of the Continental Company's
infernal machines.
" I guess I'm never at home when
the company sends a man round," the
old man snapped, preparing to close
the door.
" Don't make a mistake," said
Teddy. "I'm not from the com-
pany this time. I've called on my
own behalf — and yours."
" What's that ? " said the old man.
" I am sure Teddy is not trying to
trick you," said Dora. " Hear what
he has to say, daddy."
" All right," the old man grumbled.
" Better come in."
Teddy entered and laid his roll
of plans on the table.
" Well ? " said the farmer.
" Look at these," said Teddy. " I've
got a scheme that will save your
lands and prevent a fight. But it
must not be known that it came from
me. You understand that ? "
" Go on."
" Well," Teddy proceeded, " the
company has succeeded in rushing the
Bill through, but it does not become
operative for a year. This means
that unless you are willing to sell the
land in the meantime, they cannot
force you to do so until a year has
elapsed. This will mean a year's
waiting for the company, salaries,
expenses, etc. They can do nothing.
They ' can only wait. Very well.
Here is a plan of a new dredger that
will turn up the gold and resoil the
land at the same time.
" You see ? Take this plan to
Calthorpe Masters, the director, tell
him you have proof that a* resoiling
dredger is a practicable thing, and
that if he will adopt it you will sell
the land right away. And you've
got him."
" You mean," said the old man,
" that this dredger leaves the land
as fertile as it finds it, and we can
begin producing our crops again right
away — it does not leave a rock-
covered desert behind like the dredgers
now ? "
" That's the idea."
" 7/ you want any more playful little taps
at any time — you've got my address."
The farmer considered the scheme a
moment, then held out his hand.
" Darman," he said, " I'm on to
this scheme. The company have tried
to crush us. They have failed. And
they have failed through you. Call
here any time you like. We're friends.
Good-night ! "
Teddy glanced across to where Dora
was standing. A smile crept over his
features.
" Good-night ? " he said. " Not
yet ! " And he took the seat that
Dora offered.
Calthorpe Masters was a dark,
unpleasant man, with tricky
eyes and a smile that was worse
than another man's frown. He was
even more unpopular in Cherry Valley
than his devil-digging machines. No-
body was known to admit a liking for
him. But he was director of the
Continental Company, a power, and
therefore one who was allowed to
come and go pretty v/ell as he wished.
Cherry Valley might wish to attend
his funeral ; but it took off its hat
when he passed.
" I see," said he, when old Wade
laid the re-soiling scheme before him.
" But we have no interest in re-soiling.
All we want is the gold. So long as
you are paid your price for the land
it is no concern of ours whether the
land is fertile or not afterwards."
" In that case," said the old man,
" we have no wish to sell."
" By law you are forced to sell ! "
" But not until a year has passed.
In the meantime • your enterprise is
idle. Adopt this scheme, and we will
sell. Otherwise, not a farmer in
Cherry Valley will sell. It was ar-
ranged at a meeting this afternoon."
" And if the company should
refuse ? "
Old Wade produced his trump card.
" In that event the farmers will
raise the money and dredge their
own land and cut you out of the
business ! "
Masters considered this a
moment, his quick wits work-
ing at their quickest.
Then he smiled and
looked sharply at the
old farmer.
" Very well," he said,
" The company refuses
to agree."
" You mean that ? "
" Certainly we mean
it ! You — cannot raise
the money."
" Ah ! " cried Wade,
waving a scornful fore-
finger. " And that is
where you make your
greatest mistake, Mr.
Masters. We are poorish
farmers, but we will mortgage
every inch of our property to
get this money. And the moment the
dredger is complete you may as well
pack up and leave this part of the
country. You '11 be finished ! "
" Really ? " sneered Masters. " Then
listen Wade — call to-morrow at two
o'clock, and I'll give you a final
answer."
" C.ood enough." said Wade. " And
I think it will pay you best not to
fight the farmers, if you come to think
it over in the meantime. Good-day."
At a quarter to two the next after-
noon, Calthorpe Masters sent a message
to the effect that he wished to see
Teddy Darman in his office at once.
Teddy hurried to the office and found
Masters with one of his most baffling
smiles in full play.
" Sit down, Darman," said Masters.
And when the engineer was seated,
he proceeded to outline the scheme
for the resoiling dredger as put forward
by Wade.
" You see," he concluded. " They'll
mortgage their farms and put every
bean they have into this dredger.
All right. Who'll they get to build
it ? There's only one man they can
get. You ! Listen. When Wade
calls round on me this afternoon, we'll
be quarrelling, and as he comes in the
office door there, I'll dismiss you from
the company's service — see ? And
then you give me a playful little tap
on the chin here, to make it seem real —
nothing to hurt, you know ; just a
playful little tap to make it seem
real — and then, of course, Wade en-
gages you, and you make the dredger
for the farmers. See ? "
" Where's the-point ? "Teddy asked.
" Here's the point," Masters grinned.
" You make the dredger — but you
make it so's it won't go ! And then,
with all their money gone, they'll be
glad enough to sell out those farms at
once, instead of waiting the year
out ! Smart, you know ! "
Teddy thought it over, and at last
he nodded assent.
" All right," he said, " I'm
on 1 "
NOVEMBER 1922
Pict\jK25 and P/cf-urepoer
37
" Just a playful little tap, you
know," said Masters. " Nothing to
hurt. Just a playful little tap to
make it seem real."
" Righto ! " said Teddy.
At two o'clock Wade came for the
company's final answer. And, to his
surprise, he found the company's
director and the company's con-
structing engineer in a duel of high
words.
You're fired," Masters was thun-
dering. " Get that ? — fired ! Right
out ! From this minute onwards ! "
Why ? " Teddy was demanding.
" Never mind why. You know why.
You're fired ! Get out ! "
" Oh, all right."
Teddy balanced himself on one toe,
and raised his fist.
Hut first," he said, " before I go,
permit me to present you with a
playful little tap."
His fist shot out, and Masters was
flung across the room. He crashed
against a desk, and the desk splintered
to firewood and collapsed about him.
Meekly he lifted his head to see what
had happened to his little life, and he
saw the grinning face of Teddy far,
far above him, surrounded by the most
beautiful but the most painful stars
he had ever seen.
Wha' ? . ..." he gasped.
" That's what happens every time
I meet a crook," said Teddy. " And
now I'm going to build this dredger
for the farmers— and we are going
to lick you right out of the business.
Understand ? And if you want any
more playful little taps at any time,
you've got my address- -and I've got
yours ! Good-bye."
A few months later, with bands
playing, and all the farmers of
Cherry Valley and their wives and
sons and daughters in holiday dress,
singing and laughing, Dora Wade
cracked a bottle of wine across the
just-completed resoiling dredger and
gave it its name of Valley's Hope.
All day the celebrations continued ;
there were dances and speeches, and
then more speeches to follow ; and
the sun had been down an hour and
the moon was already peeping when
the last of the merrymakers departed.
Only Teddy Darman and the " crew "
of the monster machine remained
behind.
" We must not leave her," said
Teddy. " I don't know what
can happen now, but something
might. We must keep sharp
eyes open."
The moon climbed higher.
The countryside fell silent. At
a little before midnight, sleep
being an impossibility in the ex-
citement of the event, Teddy
proposed that they start work.
A lever was pressed, the giant
scoops began to gather in their
prey of soil and rock, the great
wheels began to stride along the
fields, the Valley's Hope commenced
its career.
On and on under the moon, with
nobody watching.
When suddenly, gathering a grey,
round thing that was no rock, the
great dredger was shaken to its outer-
most crank and shaft, and an ex-
plosion cracked forth that shook the
land for miles around and wakened
every sleeping farmer in Cherry Valley.
" What is it ? " somebody cried.
" Stop her ! Stop her 1 " Teddy
commanded. But there was no need
for the command. The Valley's Hope
was stopped for ever.
Lanterns were brought, and a swift
search was made. It was found that
the vital parts of the dredger were
blown out beyond hope of repair,
and that although, fortunately, no
lives were lost, the farmers' last hope
was gone, and only bankruptcy and
ruin were for them to look forward to.
" It will cost twenty thousand to
repair her," said Teddy. " And our
last cent is gone. The mortgagees
will be down on us for the land before
the week is out. This is the end."
" Wrho's done it ? " someone asked.
Teddy leapt down to the field and
began a sudden search of the bushes
and the lane near which the explosion
had occurred. And as he came out
into the lane he saw, far off in the
moonlight, a little two-seater car
vanishing round a bend.
" I don't know who's done it,"
he said to the followers. " But I
know whose car that is, and that's
near enough for me."
" Whose is it ? "
" Calthorpe Masters' ! "
He raised a hand and beckoned the
others forward.
" Boys," he cried, " follow me.
We've got to find Masters, and find
him quick. We don't sleep till we
do. Do we?"
/ can tell you where
Masters is hid
ing — in Number
Three dredger."
" Not likely ! " the answer was
roared, fifty voices blending as one.
" Not likely ! "
In the offices of the Continental
Company was a small and un-
noticeable man with spectacles, much
modesty, and a self-effacing manner.
His business it was to keep the books
and an account of the moneys paid
out and received ; and as he always did
this without any fuss, and as there were
never any mistakes in his department,
he was always paid his money regu-
larly and mechanically every Friday
night, and immediately forgotten.
He was not considered either very
safe or very dangerous. He was just
not considered, at all. The Contin-
ental Company was not aware of
him. His name was Silas Hoskins,
and he had been a great friend of
Teddy Darman's in the days when
Teddy was with the " enemy."
On the evening following the ex-
plosion, as Silas was putting away the
day's mail, his eyes caught a letter
that had previously escaped his notice,
and he gave an audible gasp when he
saw it. Slipping it carefully into his
pocket, he was about to dash out
of the office, when the sound of voices
caught his ear. He crept to the door
of the room of Silverby Rennie, the
managing director of the firm, and
listened. And what he heard caused
his little eyes to open very wide, and
his bristly hair to bristle more than ever.
John Wade was selling out his land
to the company !
Little Silas reached for his hat and
crept silently away, his very
soul palpitating at the import of the
two messages he carried.
In the villages he made enquiries
and learnt that Teddy and the
" boys " were still in hot pursuit
^ of the missing Masters, and that
although they had not found him
yet, they were searching every
corner of the country and leaving
no stone unturned. Soon Silas
found Teddy himself.
" I can tell you where Masters
is hiding," he said. " In Number
Three dredger. He's 'phoned for
the sheriff's men to come along
and shoot you off. He's in a
blue funk. But there's a more
JP important thing. These mort-
gages. Farmer Simpson took
them up, but — he was merely in
the pay of the company. Look,
this letter ! They hold every
mortgage ! They've bought 'em
out ! Even if you could raise
the money to mend the machine
you'd not have time. The
pZZ sheriff's men will hold the land
for the company the minute they
arrive. You're finished."
Teddy groaned. " Good Lord I
.... You're a. good boy, Silas,
but you're too late. Yes, we're
finished. There's only one thing
we can do — mess up Masters' face
before the sheriff's men arrive."
38
Pictures and PictureQuer
NOVEMBER 1922
a hard
His fists
and his shoulders were set
Silas's voice sank to a whisper, and
he drew Teddy aside.
There's another thing. Wade's
selling out ! "
Teddy sprang back as if he had
been shot.
Wade ? Selling out ? Silas, are
you sure ? "
Sure as I'm here. It's the last
straw, Teddy."
Teddy's mouth set, and
glint sparkled in his eyes.
i iiched
i :k.
Oh," was all he said.
I say, Teddy," Silas faltered.
"If you've got a gun you could lend
me. . . . I've got an idea. I know
where there's a stranger hiding — been
in the town since yesterday morning —
and if I could get him, we might find
the fellow who blew up the ship. It's
just an idea, but -"
Teddy handed the little man a
revolver without speaking, and then
beckoned the boys to follow to the
reckoning with Masters. Silas smiled
and crept silently away.
Teddy and the boys, and Silverby
Rennie and Wade and his daughter,
and the sheriff's men reached Number
Three dredger about the same time,
but not quite close enough to prevent
trouble. When the sheriff's men came
aboard they were in time to arrest
Teddy Darman for the wilful spoiling
of the good features of Calthorpe
Masters. Masters had just enough
breath left to utter the charge. Then
he collapsed on the floor, propped
up ridiculously against the legs of one
of his men.
One of the sheriff's men laid a hand
on Teddy's shoulder.
You'd better be coming," he said.
I don't mind," Teddy smiled.
"I'm pleased to deserve it ! "
They were about to lead him away
when there was another diversion.
Into the engine-house where they were
standing a woe-begone man climbed,
a stranger to most of them. He
climbed on his hands and knees,
apologetically, rather like a man
who had been hit by a blow
that had never happened.
None there could understand
his attitude. He did not
speak. He crawled forward,
stood up mysteriously, and
seemed on the verge of tears.
But the next moment he was
followed by Silas Hoskins,
and in Silas's hand was the
gun.
" Here's the merry
little fellow who blew
up the ship," said
Silas ; and to the man
himself : ' Tell 'em
who paid you ! "
The stranger pointed
a shaking finger at
Masters.
" 'Im. "
he said.
And the
sheriff's men
had Masters before he had run a yard.
When Masters and his accomplice
had been led away, Teddy turned to
old John Wade.
' Things are bad enough, farmer,"
he said ; " but if you hadn't turned
traitor they would not be quite so
bad as they are."
" Traitor ? " the old man thundered.
" Selling out to the company ! "
A wistful smile crossed the old
man's face as he shook his head.
Not selling out in that way," he
said. " Hut the men put their money
into this scheme because I asked
them, and they're all ruined, and
there was no other way of paying
them back- — He broke off.
Suddenly Teddy held out his hand.
Wade," he said, '.' you're a winner.
I'm sorry I thought what I did. I
wish — Hut now old Silverby
Rennie stepped between them.
"I'm a hard fighter," he said,
" but I hope I'm not an unfair fighter.
Masters has kept a lot of this matter
from me. I didn't know. But I
know now. And I make you this
offer. If you farmers will come in
with me, I'll adopt the resoiling
dredger and work with you all.
You're too good fighters to deserve to
lose. And, Darman, the company
can't go on without you. You'll have
to come back. In Masters' place.
Will you ? "
Teddy made a little dash and caught
Dora's hand as she was leaving the
room. He whispered something to
her quickly, and she
looked away. " Eh ? '
Rennie, waiting
for his answer.
" It depends,"
Teddy cried over
his shoulder, " on
Dora."
" It depends,"
whispered Dora,
the blush deepening, " on Dad."
Wade gave vent to a low whistle
and then a well-pleased smile. He
gripped the young man's free hand.
" Guess Cherry Valley can do with
a director who's human. And Dora
will see he stays human," he said.
" Go to it, my lad."
After the honeymoon, then," said
Teddy, winking to the others, who
raised a cheer as the little group left
the engine-house.
And Cherry Valley breathed more
freely next day when the news got
round, and called on Old Man Wade
to produce his future son-in-law. When
he didn't, they stood before Teddy's
door and shouted for him. But he
didn't respond. Being well out of ear-
shot, and exceedingly busy. Teaching
Dora how to wear a wedding-ring.
You're too
good a fighter
to deserve to
lose. And,
Darman, the
company
can't go on
without you.
You'll have to
come back."
Mushed and
said Silverby
NOVEMBER 1922
Pictures ar\d PicfureOoer
PictuKegoeK Parodies
Tbmfllix
here's a husky movie guy
Name of Mix.
Pretty wide an' thick an'
high,
This yere Mix ;
If there's kudos to be won,
If there's shootin' to be
done.
Who's the first to draw
his gun ?
Thomas Mix !
On the wildest hoss alive,
Cowboy Mix,
'Spite of all it can contrive.
Sits and sticks ;
For he's so tarnation cool
That the roughest, toughest mule
Never tries to play the fool — •
Not with Mix.
When he sets out with a rope,
Mister Mix,
Hands the steers the proper dope.
And his tricks
On a hundred h.p. car
Are the slickest things by far
Done by any movie star.
Good old Mix !
If the lynches want to lynch.
Sheriff Mix
Doesn't budge a bloomin' inch.
Shooters-six,
In his hands when they are bent
On the folks of ill intent,
h'orm a pow'rful argument —
Don't they, Mix ?
When it comes to making love,
Look at Mix !
Does he talk of " stars above " ?
Does he- - nix !
No, he ups and grabs his Miss,
Hugs her close and starts to
kiss.
And the rest is wrapped in bliss.
Copy Mix !
You're a pretty decent sort,
Mister Mix !
You're a doggoned all-round
sport,
Aren't yer, Mix ?
Though you never oil your
hair.
And you have been known
to swear,
You're a man's man,- — -put
it there,
Thomas Mix !
39
Tom Mix, snapped
in moments of
repose and
(below) of
activity.
40
Pictures and PicfureQoeK
NOVEMBER 1922
my ^^*f'f0^ir ^11
J * ^
r J
1
IP
HW
mm
a^Lw
2
Henry Victor, who has been movie-making
in Iceland.
A ad it was so hot we couldn't
/\ keep the grease-paint on our
/I faces for five minutes at a
r^| time," I heard the deep-
I dyed villain say.
" We absolutely couldn't
% ^ sleep because it was so cold,"
wh commented the tall hero.
And then I said —
Are you romancing, or recounting
dreams ?
A short and sharp negative reply came
from both of them. I soon discovered
that I had come across something
good in the way of film experiences —
for both these men had been away
from England to play in film scenes,
and they were comparing notes.
Henry Victor, whose face has
become familiar to filmgoers as the
hero of several Fay Compton films,
paused after he had replied,
looked at me, and then said —
" Perhaps if you had spent
three days in the freezing cold —
lost in the bleak lava fields of Ice-
land— you would realise it's no
dream ! "
Then I recollected that Victor is
playing the title-role in The Prodi-
gal Son, the locale of which de-
manded that certain scenes should
be filmed in Iceland.
" Nor would you think it a
dream if you had stood out ir. the
broiling sun of an African desert
for hours on end," chimed in
Richard Atwood. Although, prac-
tically a newcomer to the screen,
Atwood has just completed the
leading villain role in S/iiJtnig
Sands — a part which demanded
that he should disguise himself
as a Sheik in the desert.
" The journey out," sighed
Victor. " The journey out,"
Therma-lugica
bcaclikides
From zero to boiling-point in five seconds sounds a pretty swift transition ; but you'll
understand if you read this extraordinary interview.
sighed Atwood. "It was rough all
the time,'' continued he who has seen
the midnight sun, " and nearly every-
one was seasick. On arrival we made
for the town which was to be our
headquarters, and lo ! it was but a
mass of corrugated iron huts."
" Our trip to Tripoli was ideal,"
said he of the Sheik's wily ways.
" Moonlight nights, smooth seas, and
a view of Messina into the bargain.
We put up at the best hotel, and
thought we were going to have a
wonderful time. I love the sun-
shine but one can have too much
of it."
" We woidd have paid quids for
sunshine and warmth at the end of
our second day on the trek," com-
pared Victor. "Nothing but bleak
wastes, miles and miles of bare
country, with not a tree to be seen.
Then, to make us still more happy,
a blizzard came on — and, although
we were nearly freezing to death, Mr.
Coleby, our producer, suggested we
should take some scenes."
" We were walking about with as
many clothes discarded as possible,"
laughed Atwood. " It was too hot
to work at all some days, and we used
to sit under the shelter of a palm-tree
and long for a drink of cold water,
which we couldn't get, because the
water wasn't good."
Well, as I was saying," interrupted
Victor, " we filmed in that storm, and
after that it was decided we would
push on to the glacier. And what a
fight we had with the elements ! All
of us were drenched to the skin, and
as hungry as hunters. We lived on
sardines and tea and damp bread."
' Talking of food," Atwood said
quickly, " reminds me that we had
the worst food during our stay in
Tripoli that I have ever tasted. Bread
as hard as bullets, meat as salt as —
as salt; no fresh milk and no butter."
" We had to wait for a sand-storm,"
said Atwood, " and then when it
arrived I had to escape from my
enemies on horseback. Can you
imagine what that was like ? I didn't
get the sand out of my clothes for
days, and it irritated my skin so
much that I thought I should go
mad."
" Filming isn't always a bed of
roses," sighed he of the Northern
Lights. " Nor is it beer and skittles."
echoed he who had wandered over the
face of the desert — by which time my
feet were like ice and my face growing
warmer every moment, so I left them
to carry on their discussion. B. b.
Peggy Hyland and the Granville Company on location in Tripoli.
NOVEMBER 1922
Pictures dnd^Ricturepoer
41
Littl
iriiss
J
rWoKgarv
When little Joan Morgan
greeted me in the artistic
black-and-gold drawing-
room of her riverside fiat
at Twickenham, the
thought that I ought to have arrived
with a beribboned box of chocolates
disquieted my mind. For Joan, with
the youthful contours of her expres-
sive features, and her slight girlish
figure, gives the impression that
she is a child who, like most pretty
members of the kingdom of extreme
youth, delights in being thoroughly
spoiled.
But this is only a passing fancy,
which fades into a more serious ap-
preciation of this happy, golden-
haired English girl, when her blue-grey
eyes smile at you. For they are the
eyes of a woman, with a woman's
sympathetic understanding of life.
It is then that you know that this is
no ordinary girl. Joan Morgan has
the appealing traits of a pretty child,
but behind them is the mind of a girl
who has mentally grown into woman-
hood despite the deceptiveness of fair,
fluffy curls and pink-tinted cheeks,
which have the attractive smoothness
of youth.
Joan smiled at me with her frank,
contemplative eyes, and because she
has the power to suggest that she
can read your innermost thoughts, I
told her about those chocolates.
She clapped her dainty hands.
" Oh, why didn't you bring them ! "
she pouted.
Then she smilingly apologised for
her impulsiveness.
" You must think me very rude,"
she said demurely.
" I think," I confessed, " that al-
though you have grown up on the
screen " — for in The Road to London
she was married — " you are still a
child."
" Bryant Washburn thought that
too," said Joan, sitting down very
sedately on the corner of a becushioned
divan.
'" It was a little embarrassing.
Joan Morgan — a camera study by Bertram Park.
When he came to London he saw me
on the screen during the trade show
of Little Dorrit, in which I played the
name-part. That was the first time
that I played a grown-up part on the
films, so, naturally, Mr. Washburn,
who had never seen me in real life,
gathered a rather confusing impression
as regards my age."
" When he sent for me," laughed
Joan, "after the show, I arrived
dressed in short skirts and socks, and
with my hair down my back. ' Is
this Joan Morgan ? ' he said, with a
bewildered look in his eye.
" ' I can grow up if you like,' I ex-
plained, seeing what I thought was
disappointment on his face.
" He took me at my word, and a
day or so later he had me filmed in
Richmond Park, in a Paris model
gown, high-heeled shoes, and my
hair fashionably coiffured.
" And that is how I became Bryant
Washburn's leading lady in The Road
to London."
" Yet I suspect that you kept a
box of chocolates in your dressing-
room, although you were ' Lady
Finney ' before the cameras," I smiled.
" Big girls eat chocolates, as well as
children," retorted Joan, " and so do
boys. I had plenty presented to me
in the studios when I played ' Little
Lord Fauntleroy.' I was only eight
years old then, and that was one of
my first appearances before the
cameras. It was a great disappoint-
ment when, through some hitch in the
organisation, the picture was never
released."
Joan had given me the oppor-
tunity of diverting the conversation
into channels concerning her screen
experiences when she had not been
long out of the nursery.
42
Pictures and Picl-\jreOoer
NOVEMBER 1922
With Bryant Washburn tn
The Road to London."
Windsor Castle in the back-
ground.
With Stuart Rome in " Dicky Monteith."
" One of my first films was The Queen of the Circus,"
she told me. " That was a memorable experience, for
I have never played since in such a strenuous picture.
You can imagine my surprise when, after believing that
film acting was a quiet, sedate undertaking, I had to ride
round a circus ring on a bare-backed horse ! I was
thrown off a bridge into a river, and I had to swim from
a sinking boat — all within a week.
"In those days, locations were not so costly and
ambitious as they are to-day. The lake at the Crystal
Palace was the scene of the boat-sinking episode, and
I swam across it with dank weeds entwining my feet."
Joan Morgan creates the impression that she must
have been a very observant child, and that she possessed
a mentality considerably beyond her years.
Although she was not ten years old when she played
in one of her earliest pictures, World's Desire, she told
me quite seriously that she had learned much about
acting from Lilian Braithwaite, with whom she ap-
peared in the picture.
" For I was never trained for the stage or
the screen," she confessed; "neither have I
inherited any acting ability, for none of my
ancestors has been on the stage. I owe my
first big chance to a lucky incident. It was
when I was quite a child, and I appeared at a
charity matinee at the Ambassadors' Theatre.
At that time, May Yohe, the originator of the
coon type of song in America, was very popular.
I came on the stage and mimicked her, wearing
the characteristic short trousers with one side
rolled back, and a large ' coon ' hat. The public
were kind enough to be enthusiastic over my
singing and dancing on that occasion, and I
attracted attention in quarters that afterwards
proved of value to me in my subsequent stage
and screen work."
After appearing with George Foley and Eve
Balfour in The Woman Who Did, Joan, with her
short frocks and golden curls, sailed for America,
ami played in The Reaper with John Mayson.
NOVEMBER 1922
Pictures and P/cf-urepuer
43
Joan's vivid memories of her ex-
periences in the United States pro-
vided me with another glimpse of her
extraordinary ability to assimilate
impressions, although when she crossed
the Atlantic with hostile submarines
in the wake of the liner, she was only
a child of twelve.
" America is a wonder country for
film players," said Joan enthusias-
tically. " The great studios with
their giant sets and network of arc-
lamps, and armies of cameras, made
me realise the tremendous growth of
the kinema durirtg recent years."
" You would like to return to Am-
erica,'.' I suggested, inwardly hoping
that pretty, talented Joan Morgan
was not going to join the ranks of
those who had deserted their first
love, and departed across the Herring
Pond to star in American productions.
I refused a three-years' contract
for the United States only last week,"
confessed my youthful hostess.
" I am very happy over here, and
I am ambitious to go on appearing
on the British screen, for I have so
many happy memories of the English
studios."
It was shortly after Joan Morgan's
return from America that Andre
Chariot -persuaded her to forsake the
screen for the stage. She appeared
in " The Pierrot's Christmas," at the
Apollo, and later in the successful
revues " See-Saw " and " Bubbly."
In the latter she never missed a
single performance — playing four hun-
dred and thirty-six occasions, to be
exact, although on one memorable
occasion she appeared before a de-
serted house, of five in the stalls and
three in the orchestra, owing to the
progress of an air-raid.
Then the screen claimed her again,
and the screen version of Zola's
Drink " provided her with the
child part of " Gervais " in his youth.
The realistic portrayals of the
drink-maddened man, played on the
stage with such gripping effect by
the late Charles Warner, might
have tended to terrify a child with
Joan Morgan, Mabel
Forrest Washburn, and
Bryant Washburn.
less mental balance than youthful
Joan Morgan. But, without being
old - fashioned, she has remarkable
common-sense, and confidence in her-
self, despite her natural modesty.
That she is old in experience,
although youth lurks in the corners
of her attractive little mouth and
peeps out of her big grey-blue eyes,
is understandable when she talks of
the many films that she has crowded
into her brief screen career.
The Scarlet Wooing, Lady Noggs,
Ouida's Two Little Wooden Shoes, A
Lowland Cinderella, The Lilac Sun-
bonnet, Fires of Innocence, The Truants,
and Dicky Monteith are amongst the
pictures to which she has brought
the spirit of attractive, lovable youth.
I love my work," said Joan, as,
forgetting the sedateness which she
had drolly suggested became a young
lady of seventeen summers, now that
she had lengthened her skirts and
put her hair up, she coiled herself
amidst the black-and-gold cushions,
like the little Joan of former memories.
" I can only remember one disap-
pointment, and that was when I
looked at myself in the mirror after
I had been costumed for the part of
' Little Dorrit.'
" I didn't like myself in a poke
bonnet, and with my hair dragged
back to reflect the old-style coiffure."
She puckered her pretty face into
a grimace at the memory.
" I really did want my short skirts
and socks back, then : for, in Little
Dorrit I grew up on the screen for the
first time ! " she sighed.
Joan Morgan, when she becomes
reminiscent, can reflect her past
memories just as vividly as she por-
trays her clever characterisations on
the screen. In her
-
serious moods, she
) speaks as a woman
of twenty or more,
rather than a petite
and dainty girl with
youth still at her
side.
She told me of
her experiences
in South
Africa,
where she journeyed to be filmed in
the screen version of Rider Haggard's
story, " Swallow."
Mingled with her admiration of the
grandeur of the rolling veldt and the
giant waterfalls, were stories of bare-
backed rides on sturdy African ponies
to reach isolated locations, and the
fun she had with the baboons which,
with curious grimaces, crowded around
the cameras.
It was awfully exciting, for we
never quite knew what was going to
happen next," said Joan.
We had to travel over hundreds
of miles of country, and trust to good
fortune to find somewhere to sleep
at the end of the day. On one occasion
we stayed at the house where the
late Earl. Roberts interviewed Pre-
sident Kruger just before the peace
which ended the South African War
was signed. But the funniest ex-
perience of all was when we went
into the kraal of a Zulu chief, and he
proudly exhibited the rose-pink wall-
paper which he had on his wall, and
of which he was inordinately proud.
His importance amongst his fellow-
men was recognised by the symbol
of a battered bowler hat, which he
never removed, even to sleep."
Joan has not been without thrilling
experiences during her screen career ;
but she admits that the fight scene
in " Swallow," in which two thousand
wild-looking Zulus participated, will
live in her memory.
" I am quite grown up on the
screen now," sighed Joan, as if she
regretted the passing of the short
skirts and socks of yesterday.
" In Dicky Monteith I realised that
I should have to devote greater
attention to my wardrobe, which
naturally was simple in its extent
when I was playing child parts.
" In fact," she confessed, with a
smile, " I had to consult the studio
charlady about the correct costume
for my part of the maidservant in
Dicky Monteith, for I play a dual
role of a do-
mestic and a
Society lady.
"My great
^ ^J|^B problem was to
■» **^B find an clastic-
44
Pictures and Picture $oer
NOVEMBER 1922
side pair of boots that looked old and
fitted me."
" But I am always glad when any
incident concerning shoes occurs in
connection with a film, for that is
one of my superstitions. Shoes are
lucky to me."
She waved her hand towards a
little pair of wooden shoes hanging
on the cream-coloured wall-paper as
she spoke.
" I always carry those mascots
about with me when I am playing,"
she told me, " and I hang
them on my dressing-room
wall. " People tell me that I
ought to take an in-
terest in the Turf," was
Joan's next unexpected
confession.
" They say that I ought
to be lucky, for there
are four racehorses with
names which revolve
around my films or my
character-parts. They
are ' Busy Joan,' ' Little
Dorrit,' ' Lady Noggs,'
and ' Princess Joan.' "
" The stage," I asked
Joan Morgan, " are you
tempted to forsake the screen
to go back to it ? "
She shook her curly head.
" The stage is monotonous ■
after the films," she answered,
rather like an attractive child
discussing her favourite toys
" You keep on doing the same
things day after day behind the
footlights, but the studios are
far more exciting. You are a new
character on so many occasions,
and there are delightful trips out
into the country for outdoor loca-
tions. You see so much of England
and countries abroad, and meet
all manner of new and interesting
people.
" Recently I went to Nice,
and I saw so much there that
interested me. All in one
morning of the Promenade
des Anglais I saw ladies
with new pets, which con-
sisted of a monkey, a
fox, and a beautiful
white goat. The fox
looked very happy,
but the goat and the
monkey a little sad,"
she told me wistfully.
" You are fond of animals ?
I asked.
" I adore them ! " said Joan im-
pulsively. " My favourite hobby is
riding, although Inever had a lesson.
I think there is a lot in letting an
animal know that you like him, and
he will be docile and friendly. You
remember that one of my first appear-
ances before the film cameras was in
a circus scene, when I rode on a bare-
back horse. He was a big black
animal who looked as though he
could eat me. But I gave him an
apple, and we were great friends at
once, and although I had never been
on a horse's back before, he gave me
no trouble at all.
" And in South Africa I con-
tinually rode to and from locations
on a horse that once had been famous
on racecourses. He could travel like
the wind when I let him have his
head."
Certainly there is little approaching
fear in the fascinating little British
star. There is no temperament of
the kind that
'^ so often follows
in the wake
kof artistry on
screen.
A scene from " The Jtoad to London,"
released this month.
When she spoke of her experiences
in South Africa, she smiled over an
incident that, with a less fearless
girl, might have left an indelible
memory of horror. Whilst out on
location on the veldt, she stumbled
across one of the most deadly snakes
in the world —the sinister green Momba
whose poisonous fangs can bring
death in three minutes, if they strike
a human being.
" You were frightened ? " I asked,
as she told me the story.
She shook her head.
I just walked carefully round
the reptile," she told me ; " and I
really felt more curious than nervous."
Joan has been born with that
somewhat rare gift where the fair
sex are concerned, of an almost
fatalistic disregard for danger which
might produce hysteria in other
girls. She took risks before the
cameras almost as soon as she was
out of the nursery, and when she
was not carrying put stunts, she
was going to school during her spare
time away from the studios.
It may be that this element of
fearlessness that so unexpectedly
obtrudes itself in the contra-
dictory personality of this clever
child of the screen has some
influence on her effortless
work on the silver sheet.
She plays each part
with a confidence that
brings added realism to
her film portrayals. And
so self -consciousness
never reacts on her
characterisations. Like
many of her sister -ar-
' tistes, it is not so much
skilful acting that sug-
gests naturalness of ex-
pression and gesture.
Joan Morgan takes the
shorter path to realism,
by reflecting her natural
self before the cameras.
A step sounded at the
door of the drawing-
room, and a youthful,
smiling lady greeted me.
Joan introduced her to
me as her mother.
They are more like
two happy sisters than
mother and daughter ;
and it was simple to
realise how Mrs. Mor-
gan has made up for
Joan's lack of
brothers or sisters.
From Mrs. Mor-
gan I learned much,
that her talented
daughter's modesty
had restrained her from
telling me. " Joan is
always busy, for she is devoted
to music and fashion drawing,
when she is away from the
studios. But her greatest interest in
life is the screen, and her one ambition
has been to become a British film
star," Mrs. Morgan told me.
Joan furtively shook a warning finger
at her mother. If there is anyone
who attaches slight importance to the
fact that she has attained the heights
of film stardom at an age when many
girls are still at school, it is little
Joan Morgan. As she smiled a
farewell of childish frankness as I
shook her hand and said good-bye,
I wished, after all, that I had brought
those chocolates.
NOVEMBER 1922
Pictures and Pict\jre$uer
45
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46
Pictures and PictureQoer
NOVEMBER 1922
Mary Clare in
l Gipsy Cavalier,"
[Parts I Have
5|^ MARY
CLARE
They are a distinctly diversified ~^^
collection — all the different ^S^
characters it has been my fate
to portray. Sometimes I love
to try and visualise them all,
one after another, as a suc-
cession of portraits in a picture-
gallery all my own.
From my first stage part to
my last screen role there are enough
to cover both walls of my imag-
inary salon. Some are quite tiny
things ; others, like " Lady Caroline
Lamb " in the Byron film, and " Mary
Fytton " in the play " Will Shake-
speare," are full-length canvases ; but
I linger as long with the small portraits
as the large, for all meant happy
hours for me.
Repertory with the late Sir George
Alexander was my London debut ;
then smallish parts at the Vaudeville
with Norman McKinnel. Largest
among these pictures is one of myself
in Dickensy attire, for I appeared in
Tree's production of David Copper-
field. A modern girl stands next,
Helen," in Enterprising Helen.
She was a go-ahead young lady, just
as you might imagine, and I'm very
fond of her. Two " Chloes " (one a
stage portrait and one in the film)
come next. I like the film study best,
because it was my first screen role.
Mistress Fytton," Shakespeare's
Dark Lady, is a large oil-painting. I
think she's my favourite, for she gave
me wonderful chances for dramatic
work. Her clothes, too, were so
fascinating, from the boy's suit to the
rich Court costumes with their be-
coming, albeit none too comfortable,
tight ruffs. Period work does appeal
to me tremendously.
Naughty " Lady Caroline Lamb " is
another full-length portrait. One way
and another, she caused many tongues
to wag about her crazy infatuation for
Lord Byron. I had a wonderful time
making that film, for we all threw
ourselves whole-heartedly into what
we were doing, and I felt as though I
actually were that revengeful, vindic-
tive, but extremely unhappy woman.
Janet," my role in the J. Stuart
Blackton film, A Gipsy Cavalier, is
what is known as a " heavy." The
heroine's maid, she shares her vary-
ing fortunes, and, incidentally, I may
remark that she shared too the un-
rehearsed episode wherein both were
nearly drowned whilst filming the
flood scenes. It happened at Lord
Montagu's place near Beaulieu, where
the old Cistercian monks had their
mill. Nowadays, a great metal sluice
holds back the rushing water, and
this was lifted for the flood scene of
the film. But so fierce was the down-
coming river that it swept every-
thing and everybody off their feet.
I was rescued by my fellow-players
quite a long way from " location " ;
and I never think of " Janet " with-
out a shiver, though I quite liked
playing her.
Just now I am rehearsing the leading
part in a stage play. The Bargain.
It is a most interesting study, and by
the time these words are in print I
shall be well over the first night —
always rather an ordeal. And that
completes the collection so far, though
I hope to add many more as time
goes on.
Three diversified studies
of Marv Clare. As
" Lady Caroline Lamb "
in "A Prince of Lovers";
as the " vamp " in
" Potash and Perlmut-
ter " ; and as the "Dark
Lady" in "Will
Shakespeare."
NOVEMBER 1922
Pictures ar\d Picture $ver
47
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We are lnueoted to : —
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Sept. 1st, 1922.
Dear Sir,
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48
Pictures and Pict\jKeQoer
NOVEMBER 1922
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NOVEMBER 1922
Pictures and Picture $oer
49
f"*ilms that are in part the life-stories
of famous personages are always
interesting. Many celebrities have
figured on the silver sheet, in both
British and American studios, but few
musicians and composers have been
thus chosen. A film life of Richard
Wagner was shown in London a few
years ago. Now an American com-
pany has been formed to make a whole
series of motion pictures founded on
the biographies of the best known
musical composers, commencing with
Beethoven. Musical accompaniments
selected from his works will go with
the picture, which should thus be
doubly interesting. Mozart, Chopin,
Liszt, and Wagner are to be the next ;
their histories are full of romance, and
should make excellent scenarios.
Tom Meighan has won another
movie contest as the most popular
male star. Wally Reid was just
nineteen votes behind, and Rudolf
Valentino came in third.
Every admirer of Tom Mix knows
" Tony," the almost human
horse who can perform so many
fascinating tricks. " Tony," who has
been a picture player for some years
now, had his name in electrics when he
appeared in Just Tony, and has co-
starred with Mix in most of Tom's
films. Now the horse is about to be
insured for five hundred thousand
dollars for a year, for he has an
important part in some forthcoming
pictures. Both Tom and " Tony "
know that there is no other who could
replace him should any accident occur.
Between pictures Rudolf Valentino
paid a visit to Chicago, and
proved that it was possible for even
such a magnet as he has become to the
feminine half of the U.S.A. to walk
abroad unmolested and unchallenged.
li ly made a bet that he would even
enter a theatre without being recog-
nised—and won. But he had thought-
fully provided himself with a pair of
horn-rimmed spectacles and a beautiful
beard, and not even the people next
to him knew that the gentleman they
hailed as a perfect Beaver was the
actor so enthusiastically worshipped as
" The Sheik."
T X Tho said nobody loved a fat man ?
VV It's wrong, anyway, and Wal-
ter Hiers has proved it by wooing and
winning a pretty nineteen-year-old
bride. There were parental objec-
tions, of course, but Walter won, and
their wedding day is fixed for Dec. 25
next.
Gladys Hulette has been playing
" Mayflower "in a big pro-
duction of Eugene Sue's Mysteries of
Paris, the latest classic to be filmed.
Old Paris was reconstructed at the
Bennett Studios, from old prints and
line drawings which took nearly a year
to colldtt. The interior of the notori-
' ous Rat Hole Cafe, complete with
its cistern and sewers below, was
built up exactly as the novel described
it. High life as well as low life
figure in the story, and some impressive
coronation scenes were staged, in
which Gladys Hulette wore' gorgeous
gowns. Dolores Cassenelli, Lew Cody,
and Montague Love head the long
cast.
Directly after this film was com-
pleted Gladys Hulette was en-
gaged to play in a tale of modern
Paris — to wit, Blasco Ibanez's Enemies
to Women. This time reproductions
would not serve, and the whole com-
pany, which includes Lionel Barry-
more, Alma Rubens, Gareth Hughes,
and Pedro de Cordoba, sailed for
Europe. Six weeks was the scheduled
time to spend in Paris, Nice, and
Monte Carlo, where the principal
events of the story take place.
If you're hard up for an idea for
your next party, borrow one from
Rudolf Valentino's film The Young
Rajah. In this, a " reincarnation "
party is held, at which every guest
wears fancy dress, and is attired as
the character they think they might
have been in ages past, according to
the re-incarnation theory.
It looks as though Tony Moreno is
coming into his own at last.
Following on his successful work at
Goldwyns in Captain Blackbird, Tony
has now signed on at Lasky's to play
with Gloria Swanson in My American
Wife. It is quite an ideal role for him,
and, remembering the phenomenal
success of Gloria and Rudolf Valen-
tino as co-stars, it is possible that
Moreno may make quite as big a hit.
He is the same type, and, despite his
past Serial sins, the better actor of
the two.
Big Bill Farnum has the deserved
reputation of being one of the
most versatile of screen stars. Stock
Exchange magnates, musicians, cos-
tume and character parts — all come
easily to him ; but open-air, rugged
Western roles are particular favourites
with him. Farnum has just com-
pleted a feature which gave him the
strong character of a miner in the
Western goldfields. Moonshine Valley
tells how the hero, deserted and
friendless, degenerates into a bad hat
and is hated by everybody round
him until the love of a kiddie reforms
him. Now Bill is back in society
costume once more, working upon
Without Compromise, for which Lois
Wilson was specially engaged to play
opposite him. Lois is a newcomer to
these studios, but she and Farnum
should make an excellent combination.
Lillian Gish has now definitely left
D. W. Griffith, under whose
direction all her movie work has till
now been accomplished. With Doro-
thy she has joined Inspiration Pic-
tures, the company controlling Dick
Barthelmess. Dorothy is playing in
two Barthelmess films, after which she
will be seen in one picture with
Lillian. It is possible that, later on,
all three of these favourite stars may
be seen together, which will be great
for the fans. Lillian's first Inspiration
film, The White Sister, will be made in
Italy.
Ince's new circus picture, Ten Ton
Love, is completed now, and the
company, including Oscar, the big
trained elephant, has been disbanded.
This was the feature foi which Madge
Bellamy and the other principals
went on location to the Canadian
backwoods with a real circus. " Oscar "
exhibited a most unpardonable desire
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NOVEMBER 1922
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to explore the inside of the camera
every time he saw it, and refused
entirely to go on with his part. So
they had to hide it behind a screen of
leaves whenever the otherwise docile
monster was needed. Excepting the
photographer, who found the mighty
one's attentions embarrassing, " Os-
car's " antics made everybody laugh,
for his trainer could do nothing with
him, either on location or on the lot,
until the camera was out of his sight.
Pola Negri, whose films made in
German studios have aroused so
much enthusiasm in America, is in
California now as a Paramount star.
La Belle Pola seems to have captivated
everybody, and her first screen work
that side of the Atlantic is to be
Bella Donna, in a new version of
Robert Hichens" story. Conrad
Nagel and Conway Tearle as " The
Husband " and " Baroudi," are the
high lights on the masculine side.
Pauline Frederick was Paramount's
first " Bella Donna." Her effort is
re-issued spasmodically.
Shirley Mason, whom you can see
in Jackie this month, sometimes
avers that President Taft had a good
deal to do with her successful career.
" When I was thirteen," relates Shirity,
" / knew I wanted to keep on acting,
but I couldn't make the others see eye
to eye with me. I was playing in
' The Pied Piper,' at Washington, and
on the first night, who should be in
the house but President Taft. Of
course, the big man was pointed out
to me, and I gave him my best bow
and smile. But judge of my delight
when I had an invitation to go and
see him at the White House. He was
so gentle and encouraging, and told
me he had liked my acting very much
indeed. Altogether, when I left him,
I was the happiest kid in America.
And I always used his name to back
up any further arguments as to
whether or no I was really fitted for a
dramatic career."
Irving Cummings is so busy with
the megaphone nowadays that
he has no time for acting. He is at
Universal Studios, directing all-star
productions. His first, Paid Hack,
had a cast which included Gladys
Brockwell, Stuart Holmes, Mahlon -
Hamilton, and Edna Murphy, and his
recently completed Broad Daylight
is a crook story.
James Kirkwood has returned to the
stage, though his two years in
motion pictures have left us plenty of
films to last well into 1923. The play
is The Tool, and Kirkwood will be
seen as a Labour leader.
That favourite Longfellow poem,
The Courtship of Miles Standish, is
Charles Ray's next picturisation, with
Charles as the famous " John Alden."
Julian Eltinge, renowned on stage and
screen for his female impersona-
tions, went all the way from Cali-
fornia to Buffalo for an operation
because he wanted a lifelong friend,
Dr. Thew Wight, to perform it.
Julian is just about ready to start
work again.
Not exactly a serial, but an episode
play, is the way Bessie Love
describes her newest screen work. It
is called The Strange Adventures of
Prince Courageous, and Bessie's co-
star is Arthur Trimble.
Griffith's newest, One Exciting Night,
is a murder mystery drama
warranted to make your flesh creep.
Will there be a series of them in 1923 ?
A scene from " Cahiria," the great Italian film spectacle.
CAN YOU COPY
this little sketch
of "A Budding
Artist" ? It was
dashed off by one of my youngest students, and is
a good example of the strong and simple work
that is WANTED commercially. 1 can teach you
how to produce ORIGINAL sketches of faces,
heads, figures, etc.. that will sell.
SI) HI 1,1 \N Ml » COIHSK for thou* who h»»« rton« prnf
llmlty no drnwln«\ will delight you h* nhowlnit jou how
to proilurr rhnrmlng little •krlthea. lh,- frc la 91/- only l
ahroad, S/e <>i"
My ritOPKNHIOXAI. "lOIIItHK for
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»how jou how to prortueu drawing
thai an- itiMili and (hat will hrlna-
you a »t«ariy lorumr.
Aii Illustrated Prospectus in nill
.olour itltcriplive of oolh my Counts
will »r>tt*l m" lot »<«• ( foitn ft).
JAY OERRARD, B.W.8.,
Ttw Northern Srhool or Prcal Drawing,
TvAa ;ie) Bradihaw, Bolton.
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HARPIC CO., A.«uk Rd.. UwWS.E-3.
NOVEMBER 1922
Pictures and PictureQoer
Mai
Pleases a
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willsurely
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M,ss MERCY
HATTON
the charming, ji/in sta-:
ttci wearing <r L.ENBERT
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WEATHERPROOF
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and chill, it is an ideal and smart garment for the
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In Mole, Fawn, or Navy-
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Double-Breasted 5/- extra.
Postage, I - extra.
A Serviceable Coat for Everyday
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above. Double-Breasted 322/©
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I
We guarantee your satisfaction, for if you are not com-
pletely satisfied with the coat, your money will be gladly
refunded.
Send your remittance bj crossed cheque, Money Order,
or.Post.il Order. Cash should bo registered.
WISE MAIL ORDER (Dept. P.G.I),
46-47, Bow Lane, Cheapside, London, E.C.4.
Cfias Qui/
TME| POPULAR.
FILM STAR.
ts an
£n ftiu s las tic
Cartoonist
EVERY LAUGM
MEANS MONEY
A single cartoon makes millions of people laugh,
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In addition, your lessons will be carefully and
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The lessons are supplemented by hundreds of
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and how to do it.
FREE PROSPECTUS.
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FREE copy of the attractive booklet. " How to Become a
Cartoonist." Full of laughter-provoking sketches and
useful information, together with full details and enrol-
ment terms, which can be paid by instalments If
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LONDON SCHOOL of CARTOONING
(Studio 1), 34, Paternoster Row, E.C.4.
, USE THIS COUPON
To the London School of Cartooning,
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Please send me, free of cost or obligation, " How to Become a
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Name
Address.
(Studio 1.)
52
Pictures and Picture Over
NOVEMBER 1922 •,".:
Welsh -Pearson
Scores Again !
Here is another epoch-making screen-
play, produced by the firm that
made "Nothing Else Matters" and
"Squibs." For wholesome, joyous
entertainment it has never been sur-
passed. Watch for its appearance at
your favourite kinema, and treat
yourself to a tornado of laughter.
SQUIBS WINS
NOVEMBER 1922
Pictures and Picture poer
53
7&
Betty Balfour's
Great Triumph
" Betty Balfour is the best film comed-
ienne in the world. She is a feminine
Charles Chaplin." "Betty Balfour has
no superior in any country as a char-
acter comedy actress." "Squibs is as
much a character as Charles Chaplin
himself" — Thus wrote the country's
leading film critics after viewing
"Squibs Wins the Calcutta Sweep."
You'll agree with the critics when you
see this Welsh-Pearson Masterpiece.
■I
54
Pictures and Picf\jre$uer
NOVEMBER 1922
is written ^ £/> ^T ^*> *"
UNDER YOUR
CMIN
A Woman
is as old as she
looks
which is rather a tragedy for those who
suffer from superfluous fat, as nothing adds so
many years to a woman's a«c as. say a double
cAflt, rolls of fat on the back o( the neck.
Since Rudiod is on the market, however,
there is no need (<>r anyone lo suffer this
affliction Rodiod is a delightful, inexpensive
cream, which disperses fatty tissue wherever
applied, and is within the reach of all.
THICK ANKLES
DOUBLE CHINS
FAT ARMS, WRISTS
etc., cannot resist Kodiod, anil must become
slender and giareful. Nodrugs, no risks and
no dieting.
From hundred; of letters we quote :
/ hove fount} Rodiod most beneficial."
" I am delighted with the result."
A feu) days' treatment With this splendid
cream has cured my double chin."
I am oleased to say I am losing my double
chin."
RODIOD COStS °n,y 5^" ancJ.9'- <d°uWe
■»"*'*"*■' size) a jar in plain wrapper
overseas, postage I/- extra1.
Stocked by Self ridge, Harrods. Lewis &
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ECONOMICAL AND RELIABLE.
r BORWIGK'S
A Thi But BAKING POWDER In the World
No il-ii«ehold should be without
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FASHION DRAWING
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skrl. Ii.-. Iitiuiihl ",.1
I. I .TIM. -I I I 1 I \l V,
iheCOMMERCIAL ART SCHOOL
,\ . |, II. nn.l'.i SI . Slr.llld,
NOTE-T
I WO /.OX POWDERS free. Mention this
,/iiir in.l i I,. 1-iM .!■!. stamped addressed
eiiv lope. Sold l-i t I ilori - in I ii and :i,
, T post free i' these prices from ihe proprietors.
Tl Zox Co.. I I. Mutton Garden, London. E.C.I,
HEADACHES &
f NEURALGIA
T i ■ i ■ i in ii i n mm
Picture£o^ Guide
^
The Ace of Hearts (Goldwyn ; Nov. 20).
High-power melodrama, in which a
group of fanatics set out to reform the
world by violence. Colourful charac-
ter work by John Bovvers, I.on Chaney,
Beatrice Joy, Raymond Hatton, Roy
Laidlaw, and Haidee Kirkland.
The Black Bag [European : Nov. 20).
A fairly good detective drama with
Herbert Rawlinson starring and Vir-
ginia Yalli, Bert Koach, Clara Beyers,
and Jack O'Brien supporting.
Beating the Game (Goldwyn ; Nov. 13).
Tom Moore as a crook who takes
the straight road. Plot, acting, and
surprise ending all excellent. Support
includes Hazel Daly, J)e Witt Jennings,
Nick Cogley, and Lydia Knott.
Big Game (Jury ; Nov. 20).
A somewhat amende and futile
story of an aristocratic weakling who
is made to stand up and be a man by
his energetic wife. May Allison stars,
and Forrest Stanley, Edward Cecil,
William Elmer, and Zeffie Tilbury
support. Fair entertainment.
The Beloved Fool (General; Nor. <>).
A Swedish Biograph production,
marred by an involved but weak
story of student life in Scandinavia.
Good acting by Kenee Bjorling, Hilda
Borgstrom, Ivan Hedqvist, Carl Bro-
vallius, and Lia Noree.
Bucking the Line (Fox ; Nov. 20).
Miiiincc 1 Lefty) Flynn, erstwhile
Vale full-back, in his first star role,
and a lively romance of the railroad.
Villains, exciting escapes, and action
galore. Also Molly Malone, Norman
Selby, Kid McCoy, Edwin B Tilton,
Kathryn McGuire, and George Kerry.
Good melodramatic fare.
Brown Sugar (Jury's : Nov. 27).
An excellent British screen version of
the popular chorus-girl comedy, with
Owen Xares, Lilian Hall I'.ivis, Km
Lewis, Margaret II.iInI.ui. Henrietta
Watson, and Gladys Harvey in the
chief roles.
Estelle
Taylor
and
Tom
Douglas
r-
s^s
Beside the Bonnie Brier Bush ( Famous-
Lasky British : Nov. 1 ,).
All about a shepherd's daughter who
is beloved by a laird. Picturesque
backgrounds and powerful acting, hut
a very ordinary story. Donald Crisp,
Mary (Wynne, Dorothy lane, Lang-
horne Burton, Joan St. Low, and Roy
Rich are the principal players.
Class and No Class (Westminster
Gaumont ; Nov. 20).
A human-interest drama about two
kinds of Society, and how a rag-and-
bone merchant entered high life. All-
British cast includes J add Green,
Pauline Johnson, David Hawthorne,
Cyril Smith, and Marie Ault.
Ducks and Drakes (Gaumont ; Nov. [6).
Jack Holt, Bebe Daniels, Edward
Martindell, W. E. Lawrence, and
Wade Boteler in a clever coined v ahont
a girl in search of excitement and four
men who give her all she wants. An
excellent light comedy.
East is West (First National ; No;-. 13)
Constance Talmadge as a delightful
Chinese American girl in an artisti-
cally produced comedy - drama of
San Francisco's Chinatown. Warner
Oland, Edward Burns, Winter Hall,
Nigel Barrie, and E. A. Warren
support. Excellent entertainment.
East Lynne (Wardour ; Nor. 6).
The erring wife, the stalwart hero,
and the thoroughly villainous villain
played by Mabel Ballin, Edward
Earle, and I lenry G. Sell in an effective
version of Mrs. Henry Wood's tear
compeller. Sentimental entertain
ment.
A Fighting Fool (Fox : Nov. 6).
Tom Mix, wonderful riding, black
mail, and a murder. A very fine
WCsiein thriller, with Ora Carewe
Laura La I'lante, William Buckle)
Harry Dunkinson, and Gilbert Holmes
supporting the star.
NOVEMBER 1922
Pictures and Picl-\jreQver
55
I Love to Dance
but-OH !
MY FEET!"
Try this and forget all your aches, pains, strains,
corns, callouses or other foot troubles.
A foot bath in hot saltrated water is all you need
in Mop any foot pains instantly, Phyllis Moukman
says the saltrated water is wonderful for tired,
rT / f\W I" tender, aching feet, or any other foot troubles. Vs
for corns it docs not affect sound, healthy skin in
the slightest degree, but acts only "n the dead,
««Tlir hardened skin composing corns and callouses, which
TjjJIJ it softens just as water softens soap. Then pick the
QUI) corn right out, root and all, like the hull out of a straw-
berry. Merely cutting the top off with a ra/.or or
burning it off with caustic liquids, plasters, etc., is
about as logical as cutting the top off an aching tooth, and is
simply a waste of time. Also it hurts, and is dangerous. Millions of
packets of Reudel Hath Saltrates (for the preparation of saltrated
water) have been sold, every one containing a signed guarantee
to return money in full if any user is dissatisfied. No question, no
delay, and no red tape. Yet the sale is increasing daily. This means
something, as you will understand when you see for your si If the
wonderful effects it produces. In packets of convenient size and at
very low prices, from all chemists. Ask them about it.
EPI LEPSY
AND ITS TREATMENT.
Doctor's Discovery.
The Romance of thirty-five years' research which lies behind
the striking articles on epilepsy contained in the new edition of
Dr. Niblett's work should be carefully read by all who are
interested in this subject.
There is no infirmity so distressing, either to the sufferer or to
those around him, as epilepsy and those kindred nervous dis-
eases which, recurring more violently and unexpectedly at
shortening intervals, render the life of the sufferer one round of
misery. It has long been supposed that tits were n t curable,
and many an unfortunate sufferer has spent large sums in search
of the alleviation that ordinary remedies can never bring.
Dr. Niblett, by his patience and assiduity, succeeded in combin-
ing certain medicaments, the exact proportions of each skilfully
deimed, which he so successfully used in the treatment of
epilepsy. Dr. Niblett's formula,
VITAL RENEWER.
has for many years been used all over the world ill a series of
e\ai ting tests to prov e its efficacy. It has emerged triumphantly,
and is now generally believed to be the most valuable contribu
tion that modern science lias made to the treatment of this
particular disease, a treatment medically endorsed and vouched
for by thousands of grateful patient.-.
GREAT FREE OFFER.
In order to prove the wonderful efficai y of />;•. Niblett's remedy, and
with the object oj making ii ly make the
remarkable offer oj i f/ee {full • le oj the remedy, to&
with a copy oj Dr. Nibt t's " 1 Practical Treatise on Epilepsy
[post free to any pari , / the world), to anyone who has not pre-
viously taken adva itage ,< is treatment. II •
B.U NIBLETT, 3«, Basinghull St., LONDON, E.C.3.
m
Nil'
It is not given to all to be born possessed of the luxuries
and delicacies of this earth ; but to every woman the
opportunity now presents itself of leading a life of cultured
ease and of securing to herself an income that will allow her
to buy whatever she may reasonably desire.
These are not the irresponsible words of a mere mounte-
bank, but a consummation that has already been
attained by many.
Would you like to know something of the new and
fascinating profession of Advertising, which is open
to women who are tired of ordinary, everyday routine, with
its drabness and monotony ?
If so, all you have to do is to write to the A.G. Shaw
Institute for a copy of an intensely interesting little book ;
it will be sent you absolutely free.
Send a post-card to-day to the Secretary, Dept. P.G.3,
._ Jam
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an Illustrated Booklet
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56
Pirf\jres and Picture Que r
NOVEMBER 1922
FREE CHRISTMAS
GIFTS !
A Wonderful Offer
Fi >K every purchaser of a Suplin
Pearl Necklet through iliis adver-
tisement, a Pearl-Mounted Brooch,
pair of Karrings, Stud, or Tic-Pin
(Viilue 10/-) will be reserved. A few
d.ivs before Christmas the gift chosen will
be forw'arded post free, on behalf of
the purchaser, lo any address
given. Mention Pictnregoer
SAPHO PEARLS
(rose, crcme-rose, and white) perfecth
reproduce ALL. the characteristics of real
pearls. Can be dropped and trodden on
without breaking. Supplied in graded
necklets in plush and silk-lined full-length
case. Guaranteed superior to necklets
sold elsewhere at /"$ 3 o.
iS in. long (knotted) 3/- extra,
Kxtra lengths up to 52 in. at proportionate prices.
Money returned in lull if not more than satisfied.
AdJn
35, Duke St., St. James, London, S. W. 1
TWO WONDERFUL OFFERS
A SET OF TKA CUTLERY, consisting oi 6 I ..
Knives, electro-plated nickel silver blades, erinuid
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FIVE O'CLOCK TLA SET, consisting of 6 Spoons
and Paii of 1'ongs, all electro-plated nickel silver,
in satin -lined caso. Price "^/© post free.
Catalogue ot other lines on application. Send
to-day you stand to l"se nothing. Satisfaction
nr money returned.
PURCfeLL «St BATES,
iDnpl P.O. 1). 18. CANNON STREET. B.C. 4
Ttltpkmit . ill )' j Yio.
Footfalls (Fox ; Nov. (>).
Drama, containing one excellent
idea surrounded by careless and, at
times, crude production. Tyrone
Power, Estelle Taylor, Tom Douglas,
and Gladden James act well. Fair
entertainment.
For Those We Love (Goldwyn ; Nov. 27).
Betty Compson as a devoted < !n ligh-
ter in a small-town drama of sac ,fice
and faith. Don Chaney, Frank Cam-
peau, Camille Astor, Harry Duffield,
and George Cooper support. Will
please admirers of the star.
The Furnace ( Realart Gaumonl ; Nov.u).
A spectacular stage and society
drama, with a cast headed by Agnes
Ayres, Milton Sills, Theodore Roberts,
and Betty FTancisco. Good enter-
tainment.
The Great Impersonation (Famous-
Lasky : Nov. 27).
A German spy and an English
gentleman impersonate each other,
and James Kirkwood impersonates
both and lives up to the title. Ann
Forrest, Winter Hall, Allan Hale, and
Fontaine La Rue support. A war
story, but excellent entertainment.
Human Hearts (European ; Nov. 13).
Good, old-fashioned melodrama, with
enough plot for two and a mother-love
theme. House Peters stars, and George
Hackathorne, Russell Simpson, Ger-
trude Claire, Mary Philbin, Edith
Hallor, 'Gene Dawson, and Ramsey
Wallace head a fine cast. Excellent
entertainment.
The Invisible Power (Goldwyn ; Nov. 6).
House Peters and Irene Rich in a
fine crook drama containing plenty
of surprises.
The Jolt (Fox ; Nov. 13).
A post-war story concerning the
trials and troubles of an out-of-
work ex-soldier. Edna Murphy and
Johnny Walker co-star. Fair enter-
tainment.
The Jade Casket (Gaumont ; Nov. 13).
A Poirier Fine Art production of a
Persian fable with unusual and original
story, background and characterisa-
tion. Mile. Myrga, M. Roger Karl,
and M. Mondaille star. Good enter-
tainment.
Jackie (Fox ; Nov. 27).
Shirley Mason and William Scott in
a slight and meagre tale of a dancer.
Fair entertainment.
Keeping Up With Lizzie (W ardour ;
Nov. 27).
Enid Bennett in an amusing comedy
drama showing the effect of a fashion-
able education on a country belle and
her beau. Otis Harlan, Leo White,
Lila Leslie, and Edward Hearn also
appear.
The Matrimonial Web (Vitagraph;
Nov. 27).
A girl in search of opium -smugglers
follows up a false trail, but captures a
husband. Alice Calhoun stars, and
Joseph Striker, William Riley Hatch,
Elsie Fuller and Armand Cortex
support. Light but bright.
The Man of the Forest (W ardour ;
Nov. Id).
Zane Grey's popular story well
picturised and excellently acted by
Carl Gantoord, Robert McKim, Claire
Adams, Jean Hersholt, Harry Jx>r-
raine and Eugenia Gilbert.
Out of the Chorus (Realart Gaumont ;
Nov. 27).
Alice Brady, Vernon Steele, and
Charles Gerard in a brave struggle
against a time-worn plot, bad lighting,
and unequal direction. Poor enter-
tainment.
Peggy Puts it Over ( Vitagraph ; Nov. 13)
Slight but pleasant comedy, well
acted by Alice Calhoun, Edward
Langford, Helen Lindroth and Charles
Mackey. Fair entertainment.
Quality Films (Walturdaw ; Nov 6
and 20).
The first of an extraordinarily good
British series of one-reelers produced
by George A. Cooper. The White
Rat, adapted from a " Truth " story,
is melodrama, acted by James Douglas,
Sidney Folker, Edmund Gainforth, and
Mrs. Hayden Coffin. A Question of
Principle (adapted from a " Pan "
story), the comedy of a young couple
who took too much advice, features
Joan Maclean and Sidney Folker.
Excellent entertainment.
Reputation (F.B.O. ; Nov. 27).
Priscilla Dean in her best charac-
terisation to date and a dual-role story
of stage and underworld life. Niles
Welch, May Graci, Spottiswood Aitken,
and Harry Van Meter, support. An
excellent drama.
Simple Simon (Hepworth Imperial ;
Nov. 13).
Henry Edwards, Chrissie White and
Mary Dibley in an original and well-
told story about a young man from
a monastery. Good entertainment.
The Second Mrs. Tanqueray (/-./. F. / . ;
Nov. 20).
An Italian version of Pinero's play,
with scenes made in England, and
starring Pina Menichelli. Well pro-
duced and acted, but somewhat
depressing as entertainment.
The Son of Wallingford (T ita^raph ;
Nov. 6).
A sequel to the popular " Get
Rich Quick Wallingford " stories by
the same authoress. Quite a good
story, with a mammoth circus and
the blowing-up of oil derricks as the
chief thrills. All-star cast, with Tom
Gallery, Priscilla Bonner, Van Dyke
Brooke, Wilfred North, and Andrew
Arbuckle at the head.
Squibs Wins the Calcutta Sweep (Jury ,'
Nov. 13).
The further joyous adventures of
the Cockney flower-girl " Squibs," and
her relations. Betty Balfour plays
the title-role, and Hugh E. Wright.
Fred Groves, Bertram Burleigh, and
Annette Benson lend excellent assist-
ance. A first-class British produc-
tion.
NOVEMBER 1922
Pict\jK2s and Picl-KJKeQoer
57
^da rules the v
M//«. A/ice Delysia, celebrated actress,
patting on her Venida Hair Net in
her dressing • room at the New
fi^^ Oxford Theatre., London.
Mi-,s Delysia finds a Venida
J lair Net a peat cou-
veniencc and as indis-
]vcns.ililc as a
liair pin.
m ■,
tm
%
: 1
J
c
'^Beautiful Jiair is only
admired "when it is neat
Read the Secret
of Famous Stars.
You probably have asked yourself — " Why
cannot my hair look as neat and attractive as
the famous stars' I see on the screen ? It
can. Chances are, yours is naturally as
luxuriant and beautiful.
Their secret is— -a Venida Hair Net.
Of course you have never noticed the
Venida llair Net on the screen, although
the head is enlarged many times. Venida
is invisible. All shades of hair can be
matched perfectly. But it is there ; and
the dance, sports, blowing winds, rain or
fog, mean nothing to the coiffure of the
famous star whose hair you so admire.
Her Venida has held her tresses in place,
softly, invisibly yet permanently.
A Venida Hair Net will prove to you, as
to them, as necessary as hair pins.
Venidas come in Cap or fringe shape. Single or
Double Mesh, and at a price so economical 2 for 1 /-
(White or Grey I /- each) that women who are
particular about their appearance cannot afford to
do without them.
Venida Hair Nets are guaranteed. Sold on
the basis of money back without question by leading
drapers, chemists, and hairdressers.
VENIDA Ltd, Regent House, Regent St .London W1,
VJC-/ lXlJUin*. L for
U A T t> VTrT
ENIDA 2 f
HAIR-NET 1/-
"For Women Who Carer
Miss Flora Le Broton, famous English »ta«« anil screen
•tar, the heroine in Mr. J. Stuart Blackton's film " The
Gipsy Cavalier," says :
" / consider a Venida Hair Net an indis-
pensable aid to a neat and tidy coiffure on
indication of good taste and of a well groomed
woman."
58
Pictures and Pict\jreQuer
NOVEMBER 1922
LADIES
JTOILET
RAZORS
DANCING AND OUTDOOR SPORTS
demand the nsc of the Diana Razor for a safe
.Hid easy method of removing the hair from under
the arm. Note from the illustration the domed
top and patent curved blade, which fits the hollow
of the arm perfectly and makes it impossible to
cut the flesh.
You cannot destroy hair bv chemicals. The
growth must be periodically removed; and chem-
icals arc dangerous to the skin, evil-smelling, and
a constant expense.
For thousand* of years «Man has removed his beard
with a keen sterl blade, and in the case of Won. en, shav-
ing is the only procofs which can give that clean, smooth
effect, Some Ladles try to "make do" with the ordinary
safety razor. Iiut this is designed for Hat or convex
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• .~\
E. W. F. (Stamford Brook).— Here
are the casts you asked for. The Love
Light . — " Angela," Mary Pickford ;
" Joseph," Fred Thompson ; " Maria,"
Evelyn Dumo ; " Antonio," Jean de
Briac ; " Mario," Edward Phillips ;
" Pietro," Albert Frisco ; " Giovanni,"
Raymond Bloomer; and 'Tony,"
Georges Rigas. In Know Your Men :
— " Ellen Schuyler," Pearl White ;
" Roy Phelps," Wilfred Lytell ; " War-
ren Schuyler," C. Downing Clarke ;
" John Barrett," Harry C. Browne ;
" Mrs. Barrett," Estar Banks. Cast
of The Bohemian Girl includes Ellen
Terry, Gladys Cooper, Constance Col-
lier, Ivor Novello, C. Aubrey Smith
and Henry Vibart. In A Virgin
Paradise, which was a feminine ver-
sion of your old friend Tarzan, Pearl
White starred as " Gratia Lathom,"
" Bob Alan," Robert Elliott ; " Slim,"
J. Thornton Baston ; " Bernard Holt,"
Alan Edwards ; " Mrs. Holt," Henri-
etta Floyd ; " Constance Holt,"
Grace Beaumont ; " Ruth Hastings,"
Mary Beth Barnelle ; " The Attorney,"
Lynn Pratt ; " Peter Lathom," Lewis
Seeley ; " Capt. Mulhall," Charles
Sutton ; and " John Lathom," Hal
Clarendon. No more casts this year
for you; you're using up all my space.
Rip (Cairo). —What ! more casts.
(i) Na/.imova played " Sigrid Fersen,"
in Stronger than Death ; Charles
Bryant, Herbert Prior, Charles W.
French, Margaret McWade, and Milla
Davenport supported. (2) In the Lost
City, " Princess Elyata," Juanita
Hansen ; " Stanley Morton," George
Chescboro' ; " Michael Donovan,"
Frank Clarke ; and " Cagga," Hector
Dion. Frank M. Clarke was born in
Cincinatti, Ohio, U.S.A., and educated
there. Since 1874 has had own com-
panies in Australia ; screen career, 10
years with Sclig, then Fox {Price of
Silence, The Untamed, Flame of
Youth), luce {The Rookie's Return),
and Universal (The Diamond Queen)
(serial), ('rank's nearly six feet tall,
with grey hair and eyes and a fair
complexion. Yes, he's a good artiste.
(3) Fields of Honour is a Mae Marsh
picture, (4) Nazimova in Revelation,
not [Catherine MacDonald. Can't say
1 see the slightest resemblance be-
tween the two. You've lost your
bet, anyway. W. S. Hart did not
play in Revelation, either; thai was
Charles Bryant opposite the star.
No casts of the others available.
(4) Jackie Coogan is very much alive.
He lias finished Oliver Twist, and is
working on Fiddle, and. I at present.
(5) Re a photo of myself. You know
what the Haven said, don't you ?
Well, the Editor said the same, only
more forcibly, when I asked him about
it. Write whenever you wish, 1
don't mind.
D. S. K. (Wilts).— I've forwarded
those letters for you. Elmo Lincoln
versus Eddie Polo is a change from
Nazimova and Pauline Frederick,
certainly. Both are popular, but Eddie
has been serialling longer than Elmo,
that's all.
Regular Readkr (Hamilton). (1)
Gareth Hughes was born in 1891 ;
Frank Mayo, 1886; Herbert Rawlin-
son, 1885; Eugene O'Brien, 1884;
and Rex Davis, 1890. Birthdays not
to hand. (2) Charles Ray's art-plate
appeared in " Pictures," July 31, 1920;
you can still get it from " Pictures' "
Salon. A long interview with him in
the Aug., 192 1, PicTUREGOER, price is.
Nora S. (Lichfield). — All in good
time, my child. Yours came steenth
in the batch. (1) Irene Castle was
originally a musical comedy star and
dancer. Born New .Rochelle, 1893 ;
she's tall, with brown bobbed hair
and grey eyes. Married to Robert
Treman. Her films are Patria (serial),
Mark of Cain, Hillcrcst Mystery,
Convict 999, The Firing Line., The
Amateur Wife, French Heels, and
Slim Shoulders. (2) By adoption and
general consent, it is. (3) In Heart-
strings, William Farnum was " Pierre,"
Kathleen Noyes," Gladys Coburn ;
" Gabrielle," Betty Hilburn ; La
Touche," Paul Gazeneuve ; " Rupert
Blake," Robert Cain ; " Rouget,"
Rowland G. Edwards, and " Little
Pierre," Bewlah Frances Miggins. The
Right of Way :-—" Charley Steele,"
Bert Lytell ; 'Jo Portugais," Gib-
son Gowland ; " Kathleen," Virginia
Caldwell ; " Billy Wantage," Antrim
Short ; " Paulette Du Bois," Carmen
Phillips; " Seigneur," Franks Currier ;
" Tom Fairing," Larry Steers, and
" Rosalie," Leatrice Joy. In Scandal,
" Beatrix Vanderdyke," Constance
Talmadge ; " l'elham Franklin,"
Harry C. Brown; " Sutherland Yorke,"
J. Herbert Frank; "Ida Larpent,"
Aimee Dalmores ; " Malcolm Fraser,"
Gladden James; " Mr. Vanderdyke,"
\\ P. Carleton, and " Mrs. Vander-
dyke." Ida Darling. Your " thou-
sands of bouquets for Ralph Forbes "
are stored in my fade-proof shelter.
Step forward. Ralph, and claim your
property. Fifth Form at St. Dominic's
was your favourite's first screen play;
lie's in his teens, fair-haired and blue-
eyed. You'll see him opposite Joan
Morgan in A Lowland Cinderella next
year.
Norman (York). — The Love Flower
was released Nov. 14, 1921. (2) Six
parts. Pauline Frederick had two
releases last month see " PlCTURE-
goer's Guide." You'll have to wait
a bit for Theda Bara's new films; but
Carmen, an old Fox production, will
soon be re-issucd. Mary Pickford 's
Madame Butterfly was made in 1915,
l>iit it has been re-issued quite recently.
. I large number oj replies unavoidably
held ei
NOVEMBER 1922
PEGGY HYLANO
says :
" Pond's Vanishing C team
and Ponds Cold Cm m
are ideal preparations. I
find Ihem indispensable.
Pictures at\d Pict\JKe$uer
Peggy Hyland always uses two creams
Your skin needs two creams Pond's Vanishing Cream to protect
its delicacy during the day- Pond's Cold Cream to renew its
youth during the night.
Pond's (the Original) Vanishing Cream vanishes instantly. leaving no sign
of use save a delightful odour of Jacqueminot Roses. Pond's Cold (ream
applied before retiring to rest supplements the natural oil of the skin, cleanses
the pores, and prevents the formation of lines and wrinkles.
The use of these two creams is a pleasant way to guard your skin from the
ill-effects of wind, rain and fog, and so prevent redness and roughness
Pond's Creams never promote the growth of hair.
"TO SOOTHE & SMOOTH YOUR SKIN."
Roth Creams of alt Clumisis and Stores in handsome opal jars,
113 and 216. Abo e Tubes, 7{d. (handbag tine) and II-
POND'S EXTRACT CO. (Dcpt. 150). 71. SOUTHAMPTON ROW. LONDON. W.C. I
59
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nature lias been lax the Gaby PERMANENT Non-Burning process amply
supplies the remedy. It produces alluring waves or curls that are perfectly
natural in their effect, while the hair itself remains glossy and unharmed.
GABY'S GAS-KINO HOME WWI-K
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Side Curls, 10/6. Average Front, 2 Guineas.
Average Bobby, 3J Guineas.
INEXPENSIVE HOME OUTFIT.
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supply a simple but efficient Home apparatus at a ridiculously low price.
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60
Pictures and Picf\JKe$uer
NOVEMBER 1922
SMALL ADVERTISEMENTS.
3d. per Word
Minimum 3 Shillings.
PULLING PICTURES TO PIECES.
DEARKST. Thanks, for your uift of perfumes;
lull in future please gel them from Superfloro,
Ltd., J, Hanover Street, Regent Street, .is they arc
cheaper and better.
/"300, £400, £500 salary fur certified bookkeepers ;
A> postal tuition, 8/- monthly ; success guaranteed
two exams.: prospectus free, tit', Correspondence
College (Depl. 10), 89, New Oxford Street, London,
W.C.i.
A POSTCARD will bring you price list and easy
terms for Watches, Rings, ( yi les, Suits, Rain-
coats, Hoots, Baby Cars, < utlery, etc., from 1/ monthly.
send 1 postcard t" Masters, Ltd., 80 Hope Stores Rye.
I EARN to write Articles and Stories; earn while
-< learning. Booklet tree. Regent Institute,
13T, Victoria Street, S.W.I.
HOME CINEMATOGRAPHS. Machines from
7/0 ; with Take-up from £3. Larue Stock
of Films. Sample Film, 1/- post free. Lists free.
Desk " (i," Dean Cinema Co., 04, Drayton Avenue,
West Ealing, London. W.13.
STAMMERING. — Guaranteed Cure. Particulars
free.- 1.. Burton, 27a, The Squam, St. Annes,
Lancashire.
1 'ROUSSEAU, 5ns. od. 24 garments; smaller set,
37s. od. Easy Payments ; list, stamp. — Marie
(I. .A. 1. ...), Tottciih.dl Road, N. ij.
" plCTURES AT HOME." Machine and film lists
A free. -Pictures, 109, Kcnlor Road, Tooting,
1JHOTO Postcards of yourself, 1/3 doz. ; 12 by 10.
Enlargements, 8cf. any Photo. Catalogue,
samples tree. — Hackctl's, July Road, Liverpool.
f'iouo .worth of (heap photographic material ; sam-
Aj pies and catalogue free. Hackett's Works, July
Road, Liverpool.
HANDSOMF. MFN arc slightly sunburnt. "Sun-
Tan " gives this tint ; genuine, undetectable. —
Send P.O. 2/- E. Worth and Co., 25, Westmoreland
Road, Bayswater, London, W.2.
C1NF.MA SLIDES for making your Magic Lantern
show screen subjects. With selection of Films.
Two for P.O. 6d. — Betts, iyY, Cumming Street,
King's Cross, N.
CINEMA MACHINF.S and Films. Cheap. Lists
free,- Cinema, 114, Fernlea Road, lSalh.nn.
I^ILMS. 500 for sale. Home Cinemas for winter
evenings. Catalogue free. Logan, jo, Miuford
Gardci s, West Kensington, Loudon.
DOLLS FOR YOUR LITTLE ONES. Little Jackie
Coogan, the film favourite, price 1/6.- "Pictures,"
Ltd., 8K, Long Acre, London, W.C.2.
DL LUXE ENLARGEMENTS of yourself, your
friends your dog, your cat, can be supplied
for Half a Guinea each, post tree ; size of picture,
15 ins. by t^ ins., on handsome mount, 24 ins. by 19 iris,
(for abroad 'he enlargement will be mounted on linen).
Any phot" will do, however faded. Sent securely
p. eked and post free for 10s. od. Equal to any
Two Guinea enlargement.—" Pictures," Ltd., 88, Long
Acre. London, W.C.i.
ARF. YOU AMBITIOUS? If so, a METRO-
POLITAN COLLEGE POSTAL TRAINING
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SUBJECTS.- Accountancy, Secretaryship, London
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Many intensely practical non examination courses.
Moderate fees, by instalments, if desire, I.
" Students' Guide " — a handsome volume of 132
pages — free on request. — Metropolitan College,
Dept S32. St. Albans.
[This is your department of Picture-
goek. In it we deal each month with
ridiculous incidents in current film
releases. Entries must be made on post-
cards, and each reader must have his
or her attempt witnessed by two other
readers. 2/6 will be awarded to the
sender of each " Fault " published in
the Picturegoer. Address : " Faults,'.'
Picturegoer, 03, Long Acre, W.C.2.]
Conjuring Conrad.
Tom Meighan, as "Conrad" in
Conrad in Quest of His Youth, is seen
reading a novel in his office. When
the office-boy comes in he quickly
stuffs the book into the middle drawer
of his desk, but a few minutes later
takes it out of the end one. — G. II. R.
(North Wales).
Poor Chap.
In The Price of Possession, starring
Ethel Clayton, the heroine's husband
is shot in the back. They carry him
to his hut, where he is laid on his back
and a hot-water bandage applied to
his chest. How very uncomfortable
for the unfortunate man ! - E. T.
(Solihull).
The Elusive Ear-rings.
When the lost " Arline " is returned
to her father by " Thaddeus the
Gypsy " (Ivor Novello), Ivor wears a
very noticeable pair of ear-rings, which
I thought rather vain of him. So did
he, apparently, for, after consenting to
join the banquet in the adjoining room,
he made his way thither, and behold,
on entering the room the ear-rings had
disappeared ! — H. L. (Bristol).
Always be Prepared.
Sessue Hayakawa is surely a good
Scout. In The Devil's Claim he is seen
in his house late at night. A heavily
veiled lady rushes in, with a parson,
and begs Sessue to marry her at once
to save her from her enemies. He
does, and when the parson is perform-
ing the ceremony has a ring ready to
slip on her finger at the correct
moment. Where did he get the
wedding-ring ? Unless he always
carried it ready for an emergency like
this.- K. S. (Barrow-in-Furness).
Someone Hath Blundered.
In My Lady's Latch-key, the heroine
(Katherine MacDonald) is taken to
task by her irate mistress for failing
to hear the arrival of the evening
newspaper. Later, in a " close-up " of
this evening newspaper, it is plainly
seen to be a copy of the Daily Tele-
graph. — -M. H. (Ix)ndon, N.W.).
Only the Producer Knows.
Spike," in Heliotrope, is seen hold-
ing a mirror through the iron bars
outside his bedroom window in order
to see what is happening in the next
room. Later on in the film, though,
he enters his room by that same
window. How does he manage to
dodge the bars ? E. M. (Glasgow).
What's in a Name ?
In The Gilded Lily Mae Murray
writes a letter to one of her admirers,
signing herself " Lilian Drake." Later,
she receives a telegram from her
lover addressed to " Lilian de Forest."
Had her admirer a bad memory for
names ?— R. L. (Stamford Hill).
A Permanent Periodical.
During the picture The Shadow of
Evil several newspaper announce-
ments are shown at different times.
One relates to the first night of " The
Moth and the Flame " ; one announces
the illness of " Margaret Westen-
holme " ; and a third is shown as a
newspaper cutting being read by a
detective. But in all three notices
the surrounding matter, which reads, 1
" And a policeman who attempted to
arrest him was tripped up," is shown
on the screen. Was part of that
newspaper permanently kept in
type ?— W. F. I). (St. Leonards on-
Sea).
MOVIE LETTERS COMPETITION.
THE first prize of £2 2s. in connec-
tion with the third Movie Letters
Competition, which was announced
in the August " Pictures," has been
awarded to Mr. G. P. Wheeler,
Haslemere," Long Lane, Church
End, Finchley, N.3., whose attempt
contained one mistake only.
Consolation prizes have been
awarded to the following competitors
(two and three mistakes) : Mrs. M.
E. Brown, 27, Claremont Crescent,
Sheffield ; Miss V. E. Knight, 4, St.
George's Place, Brighton ; Miss M.
Linton, 15, Queen's Hill, Newport,
Mon.
(The correct solution will appear in our
next issue.)
"QUALITY
AND
Flavour"
DOURNYILLECocoa
I 1 »« ™B "*«■ ' Qidbury
Made under
ideal
Conditions
ON EVERY PIECE OF CHOCOLATE.
VDAJ
'"',
NOVEMBER
Pictures and Picture poer
61
""^
Some G£arming3loitses-,
from
MARSHALL ROBERTS
"V17HETHER you live in London or
in the Provinces, it will pay you
'shop" at Marshall Roberts. Not
only will you there obtain the utmost
value for money, but courtesy and good
service as well.
Here, on this page, are a few
examples of the remarkable value
we give in Blouses, Jumpers, and
Undercoats. We are able to offer
them at unusually attractive prices.
You can safely order . by post,
because should ir happen that you do
not approve the goods we send you,
you are at liberty to return them,
and we will instantly return your
money.
Remittance mu '•■• my all o-ders. Please enclose
an i iditicnal 4<i. per garment for postage.
" BETSY."
A warm and useful
Undercoat, with wide rilis
and smoked pearl buttons,
in Ivory, Putty, Silver,
Mole, Saxe, Krii k, Navy,
Nigger, and
/ " ENID.'1— Special Line \
in attractive Artificial
Silk Jumper, crochet edging.
In Lemon, Ivory, Saxe, Rose,
Putty, Klack and |,ide.«j t> A*
"DAPHNE."- A very effective
Jumper, i" latest style, good
quality Crepe-de- Chine wi'.|«^
crochet edge In Ivory, Salmon,
Peach, I. emon, Turquoise, Nigger,
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62
Picture 5 and / '/cfurepoer
NOVEMBER 192:
1 •■*
s
L^*
\ rOU will receive a very pleasanl
* surprise when you purchase
the December issue of THE PIC-
TUREGOER, for our Christmas
^ilt to our readers
The Christmas this year is to
PICTUREGOER. be in" the form
of a special Christ-
mas Number containing many in-
novations and improvements. I
am riot going to spoil the surprise
by letting you into the lull secrets
of the December PICTUREGOER,
but I can promise you an all-round
improvement on all our previous
issues. For two years the PICTURE-
GOER has been jogging along the
road to Perfect ion, and you will
find our Christmas issue a giant
stride in the right direction. It you
are wise you will order your copy
in advance. The October PICTURE-
GOER was out of print within five
clays of publication, and the demand
for our December number is certain
to break records.
| "HE answer to the great Pauline
A Frederick-Alla Nazi mo va con-
troversy has been supplied by an
obliging correspondent, who disposes
of the two stars
Psycho-analysing as follows:
the Stars. ' Though neither
of the two is by
any mean- my favourite film actress,
t heir i hara< tei ist ics st like me in this
way : Nazimova ' lets herself go,"
using her entire physical sell to tell
hi : ston ; whereas Pauline Frederick
Goodwin
relies on the rarer and more subtle
gifl of restraint, at the same time
leaving nothing to the imagination.
There is little, doubt in my mind as
to which is the real artist of the
two." Psychologist {Bradford).
" 1 THINK that The Devil's Has,
* AYvdid not achieve the success
that it deserved. It was the best
film we have ever seen in Cairo,
and v e r y f e w
In Praise of films are likely to
Stroheim. approach it for
real merit. Yet
poorer pictures have made a greater
noise in the film world, which is
very unfair, in my opinion. Judged
from all angles, it was an excellent
production, and I cannot understand
why people should rave about pic-
tures of lesser worth."- R, J. P.
(Cairo )
'"y0U ask us what we think! We
•1 think it's a great life ! We
suppose that we ought to feel duly
subdued by the shower of brickbats,
but we seem to
The Farnum thrive on them!
Fans' Reply. All the same,
we're something
of injured innocents some fans
seem to think that we're narrow-
minded enough to like onl\ one
star. That's your fault you only
quoted our brickbats and missed
our bouquets. So it's up to you
to tell the world we know there
are other stars in the screen
firmament. We have a great
admiration for Henry Edwards, and
also for that Swedish genius, Victor
Seastrom, and ever so many others.
We are rather sorry that it has come
to a pitched battle between ' Reid-
ites ' and Farnum Fans.'
Who shall arbitrate ?
Ten men love what I hate,
Shun what I follow, slight what I
receive.'
Sorry ! We didn't mean to sprit
Browning on you like that, but it
does put the case in a nutshell."— 1
Twelve Farnum Fans (Newcastle).
" T WONDER if anyone will
* agree with me that the
music in the majority of
is very poor ?
Music Hath
Charms.
entertainment :
ducers would
for their films
that it should
•the films are
kinemas
Griffith's
I). W.
special music for
Way Do, hi East
helped to make
the film a perfed
I wish other pro-
selei t special music
and make it a rule
be played wherever
shown. This would
do away with inappropriate music,"
Music-Lover (Soutlisea).
" T SHOULD like to record my
•I votes for improving IIIH
PICTUREGOER : (l) The feature
to which 1 turn lust Picturegoerl
Guide ; (2) Pre-
sent feature to be
abolished Kind
m a Carols; ( 5)
to be included, or
(a) Two or more
from the current
(b British Studio
Some
New feature
revived, ett . (
pages of photos
month's releases
Gossip to be enlarged to four pages!
(c) A page containing eight or
twelve photos of the lesser li-ht>
of the screen and those who support
the stars ; hall the number to be
of either sex, and a good allowance
of British actors ; (d) The Art plates
to be reduced to hall their present
size, and published two on one
page. Their size at
think, too
much en-
larged. To
exclude
K in e m a
Carols, and
reduce the
size of Art
plates so that
t w o won Id
go on one
page would leave
room for souk- of
the other features."
/:'. .1/. / testone).
\\ h.ii do vou think ?
I UK THINKER,
DECEMBER 1922
Pictures and PictureOoer
J
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in London."
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A mixture; ol Linen ;in<l A mixture ol Linen and
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CUSHIONS
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SQUARE
Casement covered in Rose,
Vi\. - Blue, and < i
16 in., 1/111 22 in., 3/11?
X in., 2/6? 24 in., 4/6i
20 in., 2/112 27 in., 5/1 1
ft
^ : ■'
White Cushions for Covering
FILLED VEO. DOWN FILLED REAL DOWN
16 in., 1/63 22 in., 361 18 in., 6/11 2: in., 10 11
18 in., 1/11; 24 in., 3 112 20 in., 8/11 24 in., 12/11
20 in., 2/92 27 in., 4/1 Ii
4k?z
:$S&m*&fJ
w»:$
Pictures and RicruKeQoer
DECEMBER 1922
When there are Saucepans to clean-
let Vimmy take your place.
E
VERY housewife is
proud of her cooking ;
it's gratifying to see an
appetising meal appreciated
by the family, but it means
there are lots of pots and
pans to clean — a task she
does nor appreciate. Leave
them to Vimmy— he'll clean
and polish them all without
any trouble.
) Vim is splendid for clean-
ing all cooking utensils;
whether they're aluminium,
iron, steel, copper, brass or
earthenware, Vim will
make them all bright and
clean. Use Vim for clean-
ing woodwork, stonework,
oilcloth and linoleum, cut-
lery and crockery.
When things are dim —
Just give 'em VIM.
SPRINKLER-TOP
CANISTERS
Of all Grocers, Stores,
Oilmen, Chandlers, etc.
V 33* -34
LEVER BROTHERS LIMITED,
PORT SUNLIGHT.
December 1922
Pictures and Picture Qoer
MostWomen
Love Pearls:
— and rightly so, for they
arc the most beautiful and
the most becoming of all
jewels. No gift could
be more acceptable than
a string of lustrous
DE CARO PEA.RLS—
exact reproduction of the
rare real pearls of the
Orient. They possess all
their delicacy, shape and
colouring — only the price is
different.
You will admit this if
you call and see them at
our showrooms. If you
cannot call to inspect our
showrooms
ORDER BY POST
A beautiful reproduction of Oriental Pearls with Gold snap, 16 in.
long in case, £.1 .1.0 post dee. Let us send you our illustrated
Booklet No. " C," and then choose any of the wonderful bargains,
rope, necklet, brooch, earrings, etc. Your order will receive
prompt attention, arid will be sent you post free. If you are not
satisfied with your purchase, return it within seven days and your
money will be refunded in full.
(/ nun. from Oxford Circus)
{Above the National Bank.)
DE CARO PEARLS, Ltd.,
274, OXFORD STREET, LONDON, W,l.
Hill
Christmas Cards De Luxe.
Set of Six Charming Hand-Coloured Christmas
Greeting Cards, with Photogravure Portraits of
such prime- favourites as Mary Pickford, Charlie
Chaplin, Pearl White, Owen Nares, Violet
Hopson, .nut Stewart Rome, complete with
Greetings, tied with coloured t on! and six plain
envelopes. Price 1/6 the Set of Six i omplcte,
post free : or I wo Sets for 2/6.
SEND A CARD FOR OUR FREE COMPLETE UST
OF KINEMA NOVELTIES.
PICTURES SALON,
88, Long Acre, London, W.C. 2
|,I!IIIIIIIII11I!!IIII1II1II!IIIIIII!IIIIIIIIIM
T he Sign of
Security,
YOU OAIST SEND
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with full confidence to any firm ad-
vertising in this journal.
" PICTUREGOER '• gives a square
guarantee. Satisfaction or your money
back. If you don't get satisfaction from
the firm, we will put the matter right.
PHILIP EMANUEL, Advrrli«m,nt Manner,
Odhams PRtss Ltd.,
Long Acre, LONDON, W.C.I.
The Two
Most Beautiful
Art Books
of our time.
Sent on approval to all interested in Art
Prepared primarily for Artists, but of
intense interest to every Art lover. The
reproductions from Old Masters and the
studies have been received with a chorus of
praise — and make an irresistible appeal alike
to the professional Artist and designer — to
the aspiring amateur and all Art lovers.
In the one, child life in every form, as
delineated in the various Schools of Paint-
ing from earliest periods, in action and
expression photography, modern illustrations, etc., is dealt with.
In the other, refined photographic life studies — comprising over a
hundred exquisite poses by Miss Dorothy
Lees — designated by the Daily Sketch as
the " Venus of Models " — are an education
in beauty portrayal never before placed
within reach of the public. Ask your book-
seller to show you these beautiful volumes
[The Wholesale Distributors are Messrs. li. T.
Batsjord, IMl., 94, High Holborn, W.C.i.)
OR OBTAIN THEM ON APPROVAL DIRECT
FROM THE POSTAL UNIVERSITY.
Either or both sent post free on receipt of remit-
tance. Money refunded to any unsatisfied purchaser
(less postage) 1/ Volumes are returned in good
condition within a few days to the
POSTAL UNIVERSITY,
"THE CHILD IN ART
AND NATURE." -
Over 100 Illustrations.
By ADOLPHE ARM AND
BRAUN.
Founder :uid Editor of
u Drawing and Design."
Price 16/9 Post Free.
THE HIEROGLYPHIC
OR CREEK METHOD
OF LIKE DRAWING.
P*i« Ss/T pwfme. 37, Drury Lane, London, W.C.2.
9, Radio House,
A GlkcMmiiiM; IPir<£$<giRitt
An Ideal Coat for
ALL Weathers.
TOWN, COUNTRY AND SPORT
KEEPS ITS SHAPE AND FRESHNESS.
THOROUGHLY SHOWER PROOFED.
This new innovation is made
of a superior Grey Tweed
Overchecked, with a small
coloured line ; material far
superior "in appearance and
wearing to Gabardine.
All round Belt or Sac Back,
shoulders lined silk. Sizes
42 ins. to 50 ins. long. To
permit wearing over other
garments, cut and made full
on the usual Willett lines.
OWING TO THE DEMAND
ORDERS MUST BE TAKEN
STRICTLY IN ROTATION.
Thoroughly Shower Proofed.
One Trice Only 21 /Q
CARRIAGE PAID. L* 1 \ /
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P.O.'*- Register Treasury Notes.
lleff M<\mifachmiv£G>
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29, Cannon Street,
LONDON, E.C. 4i
Pictures and Picture Qoer
DECEMBER 1922
The finest collec-
tion of stories ever
placed between
two Christmas
covers. Don't
delay — get to-day.
PICTUREGOERS' XMAS GIFTS
Beautiful Bound Volumes of
" PICTURES "
Handsomely Bound in Blue Cloth, and Lettered
in Gold or Silver, with Index and Title- Page
complete. Vols. 15 to 20 in stock.
Price 8/6 each, post free.
"MY FILM FAVOURITES"
Postcard Albums.
Specially designed for collectors of picture post-
cards of Kinema Stars. Prices : 1 /6 to hold
150 cards, 2/- to hold 200, and 3/- to hold 300.
Beautifully bound.
KINEMA HANDBOOKS.
"HOW TO BECOME A FILM ARTISTE."
2/3, post free.
"PRACTICAL HINTS ON KINEMA
ACTING." 3/9, post free.
"CINEMA PLAYS HOW TO WRITE
AND SELL THEM." 3/9, post free
" The Picturegoer " Portfolio
of Kinema Celebrities,
Contains the following SIXTEEN Magni6cent
Photogravure Portraits :
Size to inches fy <>\ inches.
Norma Talmadge. Mary Picltford, Nazimova,
Pearl White, Douglas Fairbanks. Constance
Talmadge, Ralph Graves, Charles Chaplin,
Pauline Frederick, Mary Miles Minter, Lillian
Gish, Thomas Meighan, William S. Hart,
Richard Barthelmess, Jackie Coogan, William
Farnum.
All worth framing, Ptict 1/-, or post fret 1/2
Pritt ONE SHILLING AND TWOPENCE, Po.t Fr«.
ARTISTIC AND NOVEL
XMAS CARDS.
Set of six charming hand-coloured cards with
photogravure portraits of such prime favourites
as Mary Pickford, Charlie Chaplin, Pearl White,
Owen Nares, Violet Hopson, and Stewart
Rome, complete with Xmas Greetings, tied with
colouied cord and six plain envelopes. Price 1 6
the set of six complete, post free : two sets for
2/6 ; or three sets for 3 3
PICTURE POSTCARDS of FILM FAVOURITES, Sixty all different, as selected by us.
Price THREE SHILLINGS, post free.
The Postcard Salon, 88, Long Acre, London, W.C.2.
DECEMBER 1922
Pictures and Picture Over
►tar giv* u
■
; ■ I .
I
siv»*. With i.
V"
Start ;it oik
FRAME
YOUR
FILM
FAVOURITES
AN INTKRESTING
AND INEXPENSIVE
EVENING PASTIME.
Call or torite for farther particulars.
HOBBIES (D'-™90) DEREHAM
London: 65, New Oxford Street; '17,
Bishopsgate, E.C. ; 79, Walworth Koad, S.E.
Glasgow: 326, Argyle Street. Manchester: 10a,
Piccadilly. Birmingham : Qa, High St. I Is:
15, County Arcade, and agents everywhere.
suit all .
OUTFITS
4|- to 60/-
DESIGNS
Id. to 1/6
MACHINES
50/- to £20
TOOLS AT
ALL PRICES
A Tree- design f"r some
useful article is given
each neck with Hobbies
[true ad . front any news
>geot.
INSIST ON
HOBBIES.
A Splendid Catalogue
Of 1X4 pages shows over
so 1 designs of useful
of fretwork.
' re tc ils, designs,
and materials for 15
different hobbies. Send
. now.
LET THE
TOWEL
SPEAK!
Arrtn using
/ >A ; INK dissolves
anil removes the
*"■£. **»«!* Wl™ accumulations with-
SOAP 4. WATER — OR ., uy.^'*
vanishing creams in the pores, as can ^/£ECREaii
be easily proved by washing the face and drying u, and then,
after applying OATINE, wiping the face with a towel, when
panicles of black will be found upon the towel. It is surprising
the amount of dirt OATINE will bring out of the pores.
OATINE removes the dirt that is IN, as well as the dirt that is
ON, and in getting down into the pores and removing the dirt
from them, it accomplishes something which no other face
cream can possibly do and to keep these ducts clean and free
to discharge their functions is essential to a good complexion.
Q*e
I'scrs of OATINE will find that a 3/- jar used regularly night and morning
will ].i~t from 60 to 00 days : thus the omside cost per day is Id. OATINE
CREAM IS SUPPLIED IN 1/6 and 3/- JARS.
A FREE TOILET OUTFIT
Send 4d. in stamps for a free toilet ting samples of Oatine Cream, Snow.
ioap, Fee Powder, T>><>tti Piste. Shampoo Powder, together <nth .1 descriptive
I'ueklet Containing valuable toilet hints and instructions for f.tcc massage.
THE OATINE CO.. 92. Oatine Buildings, London. S.E.
*
*
,*
*
.#.
*.
V
V
V
♦'
,+
>,
>
*
*
*
*
*•
*
.*
*
*
*
*
7
y
Perfumes
uperfloro
/ \ ' RIO TKADl MAKK
(Concentrated
Hi
the 'sst word in fascinating Fiench n ent
?5X creations, fulfil the most exacting demand
*^C for a super quality perfume in a dainty,
c, Amber, Paquerette,
Lorigan, 1 refle, Y ok o, made exclusively
with the famous essences of Herengcr
.sse, established in 1810.
Obtainable at most stores- or chemists,
or direct from
SUPERFLORO, LTD.
5, Hanover St., London, w.i.
Telephone - Maytair 1060.
Catalogue on application.
1 INeverGetUred
Dandng on this Floor
Fancy Decorated Tins,
1/© each.
Also in bulk, carriage paid.
Cash with order.
14 lb. bag-s, 12/6 each
28 lb. „ 22/6 „
56-lb „ 42/6 „
112-lb. ,. 80/- „
The "Minaret" Ball Koora Floor
Polish hat been made for upwards
oi 30 years, and by its own merit has
worked its way into all parts of the
Kmpire.
A nice granulated preparation
supplied in tins with sprinkler tops.
Will produce a, gloss on any floor.
Does away with the labour of
waxing. Should be sprinkled lightly
on the floor. The action of the
dancers will do the rest.
It entails no Labour ! It is free from Dust !
It is delicately Perfumed !
The ••MINARET"
BALL, ROOM
FLOOR POLISH
Manufacturer* BLEASDALE LIMITED. YORK
The Leading Cinema Stars
wear
PRINCESS PEARLS
All your friends will be charmed
with the rich and lustrous appearance
of PRINCESS PEARLS. Their
exquisite beauty and daintiness will
appeal to them immediately. They're
solid and they look genuine — only an
expert could detect any difference.
Other pearls not nearly as good as
PRINCESS PEARLS are sold at
a much higher price.
PRINCESS PEARLS are care-
fully graduated in size and possess a
deep - sea lustre usually associated
with the choicest products of the
Orient. They add the finishing touch
to feminine daintiness.
AN IDEAL XMAS GIFT.
Every girl will long to
pottcts Princess Pearlt
once the hat teen them.
A P.O. for 12 6 will bring a beauti-
ful string of PRINCESS PEARLS
in a handsome case to your door, per
return of post. And if you are not
perfectly satisfied in every way your
money will be refunded in full.
Address all remittances and communication! to
M. TARSH & CO., 1, Islington Square, LIVERPOOL
and kindly cross P.O.* and cheques and make payable to M. Tarsh & Co..
Liverpool.
Pictures ar\d RictureOver
DECEMBER 1922
A Month's Trip to America or £100 Cash - 1st Prize
12 exhilarating days at sea on the great ship Berengaria. 18 days
of sightseeing and pleasure in New York City, You stay at a fine
hotel. Every provision is made for travelling in luxurious first-
class accommodations, meals and entertainment at our expense
from the time you leave your own doorstep. A chaperon furnished
in New York if desired. See the latest plays, dine at the best
restaurants, and see the thousand and one interesting sights of
New York. You may make the trip any time before Aug. ist, 1923.
Two Weeks in Paris or £40 Cash
2nd Prize
Enjoy a holiday in this fascinating city with every expense paid
from the time vou leave, your own home. Tour the battle-
fields, see the Arc de Triomphe, Eiffel Tower, Notre Dame,
Versailles, Bois de Boulogne and Grands Boulevards, etc.
Enjoy motor rides, and in the evenings the latest Parisian
HOW TO WIN A PRIZE (Open to women and girls).
Make a list of the letters " A " to " I. " putting the letter in first
place which in your judgment represents the most important
statement made in the list of ',' Creme Tokalon Facts" on the
right, regarding Creme Tokalon. The letter which you think
represents the next most important statement put in second
place, and so on until vou have listed all the letters.
Scad in as many different lists as you wish : but each list
must be accompanied by one of any of the following : (a)
Outer carton from a pot or tube of Creme Tokalon or
(b) Box top from a box of Poudre Tokalon or (c) Guarantee
slip from Kijja or (d) Wrapper from Tokalon Soap or U) Wrapper
or container from any other Tokalon product. The above
must have the date and name
and address of the shop where
purchased written on it.
The persons whose lists most
nearly correspond to the sum-
mary of all the lists received
win the 200 prizes. The judges
of the contest are the Adver-
tising Directors of the Daily
Mirror and the Daily Sketch.
Poit your lists to " Creme Tokalon
Trip, " Tokalon Ltd. (Dept. 447),
212-214, Great Portland Street,
London, W.I., before Dec. 15th.
plays. You stay at a first-class hotel and dine at the most
interesting cafes and restaurants. A chaperon is furnished
in Paris if desired. You may choose your own time to make
your visit before August ist, 1923. Fly to Paris by aeroplane
if you wish.
3rd Prize, £25 4th Prize, £15 5th Prize, £10
6th Prize, £5 7th to 50th Prizes, £1
51st to 200th Prizes, Set of Tokalon Toilet Articles
value 10/-
TOKALON, Ltd.
CREME TOKALON FACTS.
A. Creme Tokalon, because of its beautifying qualities, is
. chosen in preference to all other creams by beautiful women
of the stage, including Phyllis Dare, Ivy Duke, Jose Collins,
Phyllis Monkman, Fay Compton, Peggy O'Neil, Yvonne
Arnaud, Sarah Bernhardt, Huguette Duflos and hundreds
of others.
B. Creme Tokalon is absolutely non-greasy and vanishes
almost instantly.
C. Creme Tokalon beautifies the skin and nourishes the tissues.
D. All ingredients of Creme Tokalon are absolutely pure.
E. Creme Tokalon is sold with a guarantee to make any woman
look years younger and more beautiful or money is refunded.
F. Creme Tokalon gives a clean, fresh look to blemished and
sallow complexions.
G. Creme Tokalon will not grow hair.
H. Creme Tokalon is harmless to the most delicate and sen-
sitive skin.
I. Crime Tokalon costs only 1/6 a pot, or 1/3 in tubes, not-
withstanding its superior quality and expensive ingredients.
J. Creme Tokalon is an excellent base for complexion powder.
K. Creme Tokalon prevents wrinkles and other signs of age.
L. Creme Tokalon is daintily scented with an exquisite French
perfume.
A MARVELLOUS PERFUMED VELVETY CREAM
THAT REMOVES SUPERFLUOUS HAIR.
Wbmt
<§>
NO OFFENSIVE ODOUR. NO IRRITATION.
SATISFACTORY RESULTS GUARANTEED.
Razors and ordinary depilatories
simply remove hair above the skin
surface. Veet melts the hair away
beneath it. Veet is as easy and pleasant
to use as a face-cream. Just spread it on
a* it comes from the tube, wait a few
minutes, rinse it off, and the hair is gone
as if by magic. It is absolutely harmless,
and does not stimulate hair-growth. Satis-
factory results guaranteed in every case or
money is returned. Veet may be obtained
at all Chemists and Hairdressers for 3/6,
or it is sent direct by post, in plain wrapper
to ensure privacy, upon receipt of the purchase
■ price, plus 6d. for postage and _iraa.
JA packing. A trial size is sent /j>~"^^
|fl I tor 6d. in stamps. Illh. "V£
-
It
WARNING : Like all successful snd meritorious
products, Veet has its imitators. Beware of inferior
imitations and harmful substitutes which mar
permanently and irreparably injure the delicate
skin tissues. Always insist on having Veet. It
is the original ana only genuine perfumed, non-
irritating Cream for harmlessly removing hair.
DAE HEALTH LABORATORIES
(Dept, 46), 68. Boliover Street. London. W.I.
THE GIFT OF GIFTS.
WHAT is the gift a woman values more than any other — that always
charm* and fascinates— is ever appropriate ? CIRO PEARLS—
the one true reproduction of real pearls, with exactly the same
lustre, sheen, colouring, texture, shape and weight, so that when worn side
by side the cleverest judges cannot tell which is which. There is indeed
but one difference between
Ci/io *Pea/tlo
and the genuine products of the deep sea — their price. If you come to
our showrooms your own eyes will convince you of this : but if you can-
not, then avail yourself of
OUR UNIQUE O PFBR
On receipt of One Guinea we will send
you a necklet of Ciro Pearls, 16 inches
long, with clasp and case complete, or
any other Ciro Pearl jewel. ]f, after
comparing them with real or other
artificial pearls, they are not found
equal to the former or superior to the
latter, return them to us within
fifteen days, and we will refund your
money.
Write to day for Illustrated Booklet No. 54. Post Free.
39 Old Send AVutet Sandan tiJ.l 3TW 54
DECEMBER 1922
Pictures and RictureOoer
CONTENTS :
R dbcistmas Dav> 3ov»u
a December Bian? * = =
H ptcturcflocr pantomime =
©bests: Cbristmas anO Otbcnvisc
lite is "IRecl" = = == =
Zone- of /IfconcY? = = = =
fallen leaves = = = =
Dcllo, Jfatber Cbristmas! = =
Dickens in flfcovielan& = = =
LUith .IGutisb Stars at Cbristmas
©(cturcflocr art OallcrB
f rani; ffla?o, Catherine Calvert. Valla.
Omcent Coleman, E>;k^ JGutlcr.
jf lUtuter Comes == = = =
Christmas .H3clow Stairs = *
»etts fjerself = = = =
a Coucb of IRcallsm = = =
Stars ot tbe Olo .iSruiaoc =
Cbristmas J£vc
Cbristmas Carols
Sbaoowlano = 53-
picturcflocr's Guioc 56-
Xet i3cor<K ©o 3t =
1Ubat Do you Cbfn& ?
For re si Stanley
ana
Marion Davie^
i
Pictures and Picf-\jre$uer
DECEMBER 1922
'
A CHRISTMAS DAY IDYLL
Reginald Denny, the popular Universal star, discuss-
ing the presents of Santa with his wife and little
daughter, Barbara.
DECEMBER 1922
Pictures and Pict\iKe$oer
n
PICTURES
AND
THE PICTUREGOER
TH B
SCR E-E-N
M AGAZ 1 N E
VOL.4 N? 24.
DECEMBER
Editorial Offica : Registered for Transmission
93, Long Acre, London. by Canadian Magazine post.
<2 ©eeember ©i@r^.
FRIDAY, December 6, 1893, was the occasion
of " Napoleon Bonaparte giving a party.
It was his birthday party after the evening
show of "Josephine, Empress of the
French " at the Des Moines (Iowa) Theatre,
and the sad-faced young host was distinctly
peeved when someone handed him a cutting
which read : "As ' Napoleon, William S. Hart gave a
decidedly diverting performance. We think this young
actor should seek roles better suited to his physique.
Big Bill, how could you?
ON Sunday, December 11, 1919, Lillian Gish
swore. Yes — really. She had just finished
" Remodelling a Husband, in which sister Dorothy
and her future partner-for-life co-starred, and she raised
her hand to heaven and swore — she would never,
never, never direct another film ! Can t say we blame
her, either.
Becember JSirtb&ax>8.
»
3 -
Taylor Holmes
6 -
- - W. S. Hart
/5 -
- Gregory Scott
16 .
- Violet Hopson
27 -
- John Rowers
30-
• Edna Flugrath
31 -
Wm. P. Carleton
CHRISTMAS DAY, December 25, 1922, falls
upon a Monday, and the Editor and staff of
"The Picturegoer hope their readers and contributors
all over the world will have the best and
merriest of Christmastides and the Happiest
oi New Years.
SUNDAY, December 31, will be
a Day of Rest indeed for the
persevering compiler of this diary.
His labours being ended, his sigh of
relief will be heard from
Siberia to the South
Sea Islands.
Gladys Wallc
~mZ*
12
Pictures ar\d RictureOver
DECEMBER 1922
Imagine a pantomime in which
all the leading parts were filled
by prominent movie stars 1 It
would be some show.
\t may happen that the
■f stars of filmdom will one
day combine their artistry
in the production of a
pantomime that will bring
beauty and brilliance to the
familiar characters of the
J^^ oldest of Christmas entertain-
ments. For such an innova-
tion would be a delicate form of
appreciation of the kinema's grati-
tude to the historic art, which is not
unallied to screen plays. For, in a
measure, the pantomime of old is a
twin art to that of the photoplay.
Originally the pantomime, as the
ancient Greeks knew it, was a stage
representation in which speech was
not permitted, and action was carried
out by gesture and movement. And
so history paved the way for the
silent shadow -play of the twentieth
century, and Grimaldi blazed the
trail for Charlie Chaplin.
How our ancestors would have
delighted to see a pantomime
with the youth and beauty screendom
possesses to-day, weaving a familiar
story of picturesque romance in com-
pany with the film Adonises of the
silver-sheet.
The slim, appealing beauty of
golden-haired Marion Davies estab-
lishes her unrivalled claim to the role
of the pantomime Princess, whose
perplexing path of love justifies the
lurid existence of witches, Demon
of his Page Boy costume, as he held
the Princess's train, and sought to
disguise the fact that he would feel
more at home if he were handling a
cowboy's lariat.
Ben Turpin, with his swivel eye,
rotating towards the baronial table,
which refused to exude an appetising
groan beneath its property joints of
cleverly tinted linoleum and papier-
mache Christmas puddings, would
strut drolly through the . scene in
keeping with the best traditions of
a Pantomime Baron's foolery.
Mary Brough would need to
forsake few of the inimitable char-
acteristics of " Mrs. .May " to play
the part of the Dame. Her dis-
courses on her matrimonial griev-
ances could effectively include
many of the sub-titles which figure
in her screen success, A Sister to
Assist 'Er.
The fantastic, dainty prettiness
of Mae Murray would serve her
well in the part of the Principal
Dancer, and her sartorial splendour
would challenge the extrava-
gance of the most profligate
pantomime producer.
One could imagine the art
of George Arliss converting
him into a sinister be-spangled
Demon King, who would shoot
through trapdoors with a Machi-
avellian grin.
Marion Davies
would make
a charming
Princess.
Wesley Barry as "Buttons " ;
Douglas Fairbanks as
" Robin Hood."
Kings and stony-hearted parents.
How she would sweep majes-
tically down the gilded steps, 'ift,
amidst the blare of the heralds' \ u
trumpets in the final transforma- •
tion scene ! Even the most case-
hardened, horny-handed studio car-
penter would be likely to recall the
pantomimes of his long-forgotten youth,
and, with mouth agape, cease to hammer
discordantly on the neighbouring " set.''
Who would the bewitching Princess
Marion have beside her in this scene of
pageantry and wedding bells ?
Undoubtedly Rudolph Valentino : for
he would reflect an ideal Prince Charm-
ing, with his ability to wear costume
with an ease and charm that makes for
romance and gallantry.
And dainty Agnes Ayres, w-ith a glit-
tering crown on her luxurious brown
tresses, would flicker into the scene in
the silver and gossamer of the good
Fairy.
Wesley Barry would undoubtedly
be there, with his freckled
features smiling above the
broadcloth and gleaming buttons
DECEMBER 1922
Pictures and Picf-ureOuer
13
"Prince Charming "■ — Rudolph Valentino.
If the screen stars of to-day pro-
duced a pantomime, their choice of
a story would be a difficult one.
For the characteristics of the high
lights of filmdom in many cases
qualify them for most of the familiar
characters which figure in the fa-
vourite legends woven into panto-
mime.
If " Cinderella " were chosen as
the story, Mary Pickford would make
the most delightful and appealing
little lady of the glass slipper who
had ever quickened the heart-beats
of a Prince Charming.
Douglas Fairbanks has created a
screen Robin Hood whose doublet
and hose are in keeping with the
pantomime idea of the hero of Sher-
wood Forest.
Constance Talmadge, with her
bobbed tresses and vivacious personal-
ity, would bring a new charm to the
romantic character of Dick Whit-
tington ; and Ruth Roland could
create a delightful Aladdin.
Already we have seen Betty Comp-
son and Theodore Kosloff on the
screen as Columbine and Harlequin.
They reflect all the romance and
charm associated with the panto-
mime impression of -these symbolical
figures of legendary love.
If one analyses the modern screen
play, however, it is possible to realise
how pantomime is truly the inspira-
tion that, in a number of subtle
ways, lies beneath the miming art.
How often the theme of the shadow
plays in which Mary Pickford stars
present her as a Cinderella ! The
old-time story is there, but it is in
a modern setting. There is always
the " Prince Charming " in the form
of a twentieth-century Adonis who
rescues the " world's sweetheart "
from unhappy surroundings. Mary
Pickford in so many of her screen
characterisations reflects the familiar
appeal of a Cinderella.
And the screen vamp is but
an up-to-date version of the bad
fairy, whose mocking laugh has
rung out behind the pantomime
footlights for many centuries.
Agnes Ayres often reflects in her
film plays the characteristics of the
good fairy of pantomime. She may
wear the silks and satins of a
Society girl, and substitute a dia-
mond head-dress for
the familiar tinsel
crown of pantomime,
but at tjic root of
things the inspira-
tion lying behind her
kindly actions is
akin to the minis-
trations of the pan-
tomime fairy.
And so one could
compare almostevery
screen type of char-
acter, from villains to
kindly fathers, with
the familiar figures
whose inclusion in
pantomime has
become an insti-
tution.
Should a really
spectacular screen
pantomime in which \
the high lights of filmdom appeared
ever come to the silver sheet, a new
dignity would be brought to this
ancient form of entertainment where
salaries were concerned.
For the first time in
history a principal boy
would draw the unpre-
cedented pantomime
salary of a thousand
pounds a week, if
stars such as the
Talmadges or Nazi-
mova figured in the
cast. Were Charlie
Chaplin the clown
in the harlequinade,
the ghosts of Grim-
aldi and his pre-
decessors would
marvel at the colos-
sal salary that the
king of screen-
jesters would draw
in return for don-
ning the motley
of panto-
mime.
Mary Brough
would be the
panto Dame.
Theodore
Kosloff and
Betty
Compson
would be
Harlequin
and
Columbine.
Ethel Clayton makes a gorgeous
And even the profits of the most
successful stage pantomime on record
would fade into comparative insigni-
ficance when compared with the
money-spinning possibilities of a screen
pantomime which presented world-
famous stars. For all the w-orld
loves a pantomime, and such enter-
tainment reflected from the screen,
and produced with all the modern
scientific devices now at the com-
mand of the up-to-date film direc-
tor, would bring new life to the
most popular of all Christmas diver-
sions.
There are many producers in
filmdom who could produce a
screen pantomime that would rival
the spectacles which we have
known on the speaking stage in the
past.
David Wark Griffith would un-
doubtedly present a memorable pro-
duction if he concentrated his artistry
on the reflection of a shad o-- -show
pantomime.
There would be wonderful " close-
ups " of fanciful, symbolical bells
ringing Dick Whittington back from
Highgate Hill, and " mist photo-
graphy " effects reflecting the tears
of Cinderella in her sombre chimney
corner.
One thing would be assurred, and
that is that Griffith would create
a new standard of prodigality
where the cost of producing panto-
mime is concerned.
RUSSELL MALLINSON.
14
Pir.t\jK25 and PicfureOuer
DECEMBER 1922
ibove : Victor Seastrom in " Thy Soul Shall Bear Witness.
Left : Mary Miles Minter in " All Souls' Eve."
That planet," wailed the
White Lady, waving a flesh-
less hand towards t lit? earth,
placidly spinning in the
moonlight, " is no longer
a fit place for any self-
respecting spectre."
" Been re-visiting some of
your old haunts ? " inquired
the Man in the Moon, politely.
Haunts ? I 'ah ! " ejaculated the
Lady disgustedly. " Pray, who on
earth is there to haunt ? Nobody.
People refuse to be haunted. They
don't worry over us ghosts any more.
We're finished. We're back numbers."
Tis true, alas ! Our Day is
Done," agreed a seventeenth-century
ghost, )'">. a big white periwig.
Der lag," growled a guttural
voice. "1st
Speak English, can't you ! " ex-
claimed a wrathful-looking wraith
with a halter round its neck.
" Ssh ! Ssh ' " Old Marley hurried
up with a clank.
"That's her Serene Transparency
the Hohenzollern Ghost." In true
Teutonic fashion the Lady in question
withered him with a baleful glance as
she joined Mary of Scots and a few
other Royal ghosts who headed the
indignation meet-
ing
We're dead
letters," groaned
the Headless
Horseman
And whv ?
The Kinema-
tograph, of
course," chorussed
everyone at once.
" Movie ghosts in the films," " Movie
magazines telling the world how it's
done," " Picturegoer Peeps Behind
the 'Screen, curse them !
"They've put us all in movie plays,
and a whole lot of others they in-
vented for their own purposes,"
chanted the Spirit of the Brocken.
" Curse the whole Movie Indus-
try!"
They did. In no uncertain terms.
" Come, come, now ! " Old Marley
was highly indignant. " Order, or-
der ! " and he clanked his cash-boxes
vigorously- " I won't allow you to
curse the Movies like that "
The dickens you wont," snapped
the Wesley Ghost. " Because you're
a regular Movie fan yourself."
Certainly. I have always
been one. I've seen every ' Ghost '
picture there is. I've been in
studios and watched them made.
I've even acted in one myself.
Very cleverly they are done, too.
Almost better than we can
do ourselves."
" I disagree." said the
King of Denmark. ' They
didn't do me well. The first
Hamlet made me dancing
rag time movements, and
in the second one they've dared to
have a woman play Hamlet.'' He
relapsed into floods of Danish over it
I've seen The Gho.st oj a Chana ,"
continued Old Marley. " I've seen
comedy ghosts and tragedy ghosts.
A whole army of ghosts in f Accuse.
A ghost wedding in Smiliri Thro'.
Ghosts of little children in Over the
Hill, used with such telling effect that
even I dissolved into tears. Films
like Earthbounjd anil Thy Soul Shall
Bear Witness do good work. They pre-
pare the way for me. After anyone has
seen a film like that, the effect of a
little curtain lecture from me after-
wards is remarkable."
Wyndham Standing in " Earthbound."
DECEMBER 1922
Pictures and Pict\JKe$uer
15
" .Money for nothing. They do half your work for
you, especially Christmas -time," sobbed a Shuddering
Influence. And I've had to retire because of the Radio."
Radio ! The Banshee gave the ghost of a wail.
" Ochone ! Ochone ! " she whimpered. "Me rival! Me
hated rival. It's everywhere. It can sing and talk. It
can whistle, shriek, moan and groan all at once."
"That's called 'jamming the ether,'' interjected
the Man in the Moon.
" It's the sore throat I've been giving meself trying
to do the same,v wept the Banshee. ' They're so used
to it, now, that when' I come at night and make all me
beautiful noises, niver a shiver from any of thim at all,
at all."
" Boo-hoo-hoo ! " sobbed the Radiant Boy. " She
wailed to one man, aud I radiated all night, and all he
did was to sit up and yell, ' Mercy ! I must have for-
gotten to disconnect those Radio valves, and then
nose-dive into his pillow again. And he's put
the two of us into a story, and called me ' The
Radio Boy.' Boo-hoo-hoo ! "
" Just like a journalist,"
commented Queen Catherine
Howard. " The Movies are
the real sinners, though.
Uttering my famous shriek, I
rushed across a gallery,
wringing my hands and
wearing my best look of
utter despair. But no one
was impressed. One man
counted the whole time I
was running. Another said,
iuirle Williams in
" Bring Hint In."
Heaven
but I
never will," and she went
into hysterics.
" All the world's a Movie"
cried Hamlet of Denmark.
" Let's seek another sphere
this Christmas, where such
pests are unknown."
Yes, yes. Let us go,"
chorussed everyone. " No,
no ' "exclaimed Old Marley!
" What would Christmas be
without you ? Come, now,
what do you say to a little
sea voyage on the ' Flying
Dutchman ' ? Sailors 'still
believe in ghosts, and there aren't manv Movies at sea. Just
think of the effect of the lot of you at once on the Middle
Watch out in the Pacific. Come on all. I'll pay the fares "
Somewhat reluctantly, the Spooks and Spectres boarded
Cornelius Vanderdecken's vessel. "All aboard," shouted
the captain to the Man in the Moon. " We'll be back on
Christmas Eve Good-bye." " Good-bye, all," replied the
Man in the Moon, as the ghostly vessel glided out to sea
" But where on earth is Old Marley ? " Then he winked
for as the great world spun on, he caught a glimpse of Marley
and the Spirits of Christmases disappearing inside a Picture
Palace.
Dorothy Fane in " Creation."
Edward Earle and Agnes Ayres
in " The Ghost of a Chance."
David Torrance in " The Milton Mystery."
' Double exposure, you know — what ? ' A third shouted, ' Cut.
We'll do a re-take to-morrow, and mind your distances, please.'
He was a producer. Spoiling all our simple pleasures." She
was interrupted by the apparition of Queen Elizabeth, foaming
at the mouth. " Come down to earth ! " invited Old Marley.
"I've been, Sir; I've ' been," she vociferated. "They're
putting me into a new film. I wish it altered. I went to see
' George ' about it, and I went to the wrong robm first. The
man in there put his head on one side and murmured ' Bessie '
in quite an affectionate voice. I smiled and murmured : ' George ! '
i hen he bellowed at me. ' He's not here. GO AWAY ! ' So
I went next door and stood on George's bedrail. He sat up,
grinned, and said he could see through me."
Naturally,'' said the Man in the Moon. "Then he looked
at the clock and told me to fade out," stormed the Queen. " But
I wouldn't, and I ordered him to alter that film. " So he threw
pillows at me, and commenced to sing. Then 1 had to vanish.
16
Pictures and P/cfurepoer
DECEMBER 1922
U
<r5i
(MaJvina) Longfellow
Longfellow, the Poet, informed us that Life is Real,
but Longfellow, the screen star, spells it differently.
^^"X vcrything in this room,"
C J observed Malvina Long-
Jp fellow, with an expressive
m gesture around the de-
■ lightful apartment, " is
a at least two hundred
^L years old."
^^^^ 1 rose to protest.
" Excepting yourself," she corrected,
hastily.
" And yourself," I amended, accept-
ing her propitiatory cup of tea.
" Lady Hamilton," after Romney's fam-
ous picture.
signedly.
Malvina did so.
" Count me out.
I was seven hundred
and seven yester-
day."
" Really ? "
" No. Reel-ly.
In The Last Crusade.
We ' shot ' the final
scenes yesterday
morning, and I
played ' Queen
Eleanor,' you re-
member. Now, don't
look so disbelieving
or I'll quote Long-
fellow."
" Do your worst,"
I murmured, re-
As follows :
" Films re-issued oft remind us
Of the things we should avoid.
All our faults we leave behind us
Registered in celluloid.
Life is reel, life is flicker. And
the "
" Have mercy ! " I cried. There
was a pause, during which Henry
Wadsworth Longfellow turned in his
grave twice.
" Your ancestor, relative, or
jm whatever he was, will most cer-
\ \ tain \y demand compensation for
this," I warned her solemnly.
" He wasn't," said she
mischievously. " We're
only related by news-
paper. And you brought
it on yourself, anyway.
Longfellow was Ameri-
can, so am I ; otherwise
we've nothing in common,
except the name." (This
isn't quite true, for Mal-
vina writes articles and
short stories. If she's
written any other verses,
she keeps it dark.)
" I accept your apolo-
gy," I assured her. " And
I hope Henry Wadsworth
will. Suppose you cease
teasing, and tell me the
story of your lite."
" You think you can
stand it, then ? " Mal-
vina gazed thoughtfully
into the hre for a moment
or two. She is so lovely
that it is not at all sur-
prising to find her por-
trait at the head of
the section devoted to
American Beauties in
Hoppe's " Book of Fair Women."
Dark-eyed, with cloudy black hair,
worn that day parted severely in the
centre and drawn back d la Tan-
queray — a fashion that only perfect
contours and features can bear. With
slender fingers interlaced in the lap
of her simple black frock, this animated
Romney, who still speaks good Ameri-
can, despite her many travels and
long sojourn in England, unburdened
herself thus :
I was born during that great
blizzard on March 30, in New York.
Even in my. schoolgirl days I was
crazy over pictures, reading, the
theatres- any form of art, in fact. I
was in request as an artist's model
whilst I was still in short skirts ; sat
to Harrison Fisher and others, and
saw myself in all sorts of poses on
the magazine covers afterwards."
" I remember your theatrical work,"
I interrupted.
" Well, then, you'll remember, too,
how many different kinds 1 had a
shot at. Let me see. Light comedy
with Seymour Hicks in ' Broadway
Jones.' I remember going to see him
about a part in something else, and
he said, ' Can you sing ? ' ' My friends
say I can't ; but 1 say I can,' I replied,
somewhat to his amusement, I think.
Anyway, I had the engagement all
Malvina Longfellow as " Ladv Hamilton."
DECEMBER 1922
Pictures and Picture $oer
17
right. Inconstant George' [not
related to " Picturegoer " George, I
hope] was another. Then in ' The
Fortunes of Fate,' a drama, I was the
star, and who do you think played quite
a small role in it ? Sybil Thorndike !
We met again in filmland not long
ago, and Sybil laughingly reminded
me of it. She was in Moth and Rust
with me. 1 don't think she likes
screen-work as much as I do,
though. I was in a revne at
the Comedy, too : had to
dance and sing in that."
Malvina is very musical,
although it pleases her to
pretend she isn't. After
that we talked of films and
her work in them.
" 1 commenced with
Davidson's, " she said. " In
Holy Orders, Marie Corelli's
wonderful story. I was
' Jacynth.' "
" The bad girl of the
village," I put in.
" No ; I won't have
that," said Malvina. " Be-
cause she wasn't really
what you might call- bad.
A woman of a certain tem-
perament, she merely fol-
lowed out her destiny. Be-
sides, I've never played any
really bad characters;
" Thehna came next. I
chose the story, and per-
suaded the others that it
was the story. Then they
couldn't find a leading
lady. A. E, Coleby, who
was in the cast, suggested
me. Now ' Thelma ' was a
Scandinavian, and yon
know what colouring theirs
is. Just for fun, though, I
tried on a fair wig, and had
some tests. And because I
screened equally as well as
with my own tar-coloured
tresses, I was ' Thelma,'
and the role is one of my
favourites. Later films
were Adam Bede, For All
Eternity, Nelson, and The
Romance of Lady Hamilton."
In each of the two last
she played " Emma," and
this blacksmith's daughter
who had such an adven-
turous career is Malvina's
favourite character-study. H
Very lovely s*he looked, too, Wf . j
in the picturesque costumes
worn by the ill-fated beauty.
Malvina has a book full of
" stills," showing herself as " Emma."
" These," she said, giving me half-a-
dozen small prints, are just poses of
different Romney pictures ' Emma '
sat for. And in this one with the
lilies, I wear an exact replica of
' Emma's ' gown. This one with
the spinning - wheel is very well
known." Malvina literally " thought
herself " into the role of " Lady
Hamilton." I believe that one
always associates her first and
foremost with her work as " Emma."
" For a year," she mused, " I read
every book about her I could buy,
borrow, or steal. Her life (and what a
life it was!) from the cradle to the
grave became as familiar to me as
my own. ' Emma ' owed a good deal
of her beauty, strength, adapta-
bility, and love of the niceties of life
to her mother. Love though, was, to
i1
A camera-study of Malvina Longfellow.
my mind, the outstanding feature of
her character, and it brought about
both her greatness and her downfall.
She was very sympathetic, too, and to
the lowliest, as well a's the greatest,
she gave freelv ot her pity and
understanding.
The first Nelson film was burnt,
you remember, and I -was heart-
broken. I'd given so much of myself
to that, I thought I could never do
' Emma ' justice again. But Maurice
Elvey and Mr. Salmayer were very
kind. Somehow, they made me start
afresh, and of course, we had a won
derful ' Nelson ' (Donald Calthrop)."
Malvina Longfellow designed all her
Lady Hamilton " dresses and hats :
she does this for all her period work,
as you will see when Romance of His
lory is released. " But that's an old
story," she concluded. " Although I'll
always love it. During the
war I ran a poultry farm
'way out in the country.
That was my war-work.
Visits to France, Germany,
Italy, followed, and a flying
visit home. I never stay in
New York very long. Then
more film work over here.
I can claim to be a British
artist, for I have done no
film work abroad, though
I've had many offers. I
went to Germany to play
' Lady Hamilton ' in their
Nelson film ; but when 1
saw the' scenario, I refused
the part, with thanks.
When you see the film — if
it's ever shown here —
you'll see why.
" Working on four or five
films at once is rather a
strain," Malvina told me.
" Owing to overlapping con-
tracts, 1 was working upon
Unmarried, Mary Latimer,
Nun, Calvary, and The
Rosary all at the same
time. 1 used to hurry from
one studio to another, and
I think I earned the long
holiday I awarded myself
when all was over. Phroso,
Moth and Rust, and The
Romance of History are my
latest films."
Then she showed me the
wonderful antiques and art
treasures enshrined in that
picturesque room of hers.
She has a cabinet full of
rare old glass in one cor-
ner ; her furniture is all
period stuff. The writing
table at which are signed
the many portraits she sends
away is a treasure in itself ;
and there are orchids, all
kinds, everywhere. Rare
and beautiful old lace, too,
is another hobby of hers.
" I haven't any supersti-
tions," Malvina said, on
parting. " Unless you'd call
a belief thatoneshould never
pat oneself on the back over anything a
superstition. I don't touch wood, and
I'll walk under two ladders at once."
Malvina is busily studying famous
women of bygone days for the series
of Love Stories of Famous Women she
is making at B. and C. studios. So
that she may tell me she is eight
hundred years old'next time we meet.
So long as she doesn't spring any
more of Life is reel upon me, 1 shan't
mind. Norma Neilson.
18
Douglas
Maclean
gives an
impression <>J
a screen star
recei.
his salary in
cash.
Pictures and Picl-\jre$uer
DECEMBER 1922
y
What Famous Screen Stars Really Earn.
k
o err is human, but for a
screen star to divulge the
truth about his salary is
divine. I'"or it is an amusing
phase of human nature, es-
pecially in filmland, for screen
artistes to draw the long
bow when discussing their
pay-rolls.
The action which Rudolph Valen-
tino, the hero of the screen version
n| Blood and Sand, has recently taken
in the courts against a famous film
firm that he alleges has extended
unfair treatment to him has directed
a reliable amount of limelight on to
the salaries of famous stars.
Si ane intriguing figures have been
made public as a result of litigation;
and as the statements revolving
around the payments made to the
high lights of film stardom represent
sworn evidence, they can be regarded
as reliable sidelights on the exchequers
of screen favourites.
Rudolph Valentino alleges that in
the film production, The Sheik, he
received what approximates in English
money to one hundred and twenty-
five pounds a week. Whilst he was
playing in Moran of the Lady Letty,
his weekly salary, he states, was one
hundred and seventy-five pounds;
and in Beyond the Rocks, according
to his evidence, he was paid two
hundred and fifty pounds a week.
The film " fan " who has eagerly
devoured the stories of million-dollar
contracts in fihndom will no doubt
develop disbeliever's dyspepsia when
this disappointing revelation is served
up. But there is more appetising
fare, where the romance of big salaries
is concerned, in other statements
which have been made public in con-
nection with Rudolph Valentino's
disturbance of the money -chests of
the movies.
Thomas Meighan, it is said, draws
the princely salary of one thousand
two hundred and rifty pounds a week,
or over sixty thousand a year. Little,
wonder that his screen smile reflects
such contentment.
Alice Brady, it is stated, draws a
thousand pounds a week; but even
this handsome sum dwindles into
comparative insignificance in compari-
son with the two thousand five hun-
dred pounds a week which Nazimova
is said to have received from Metro
when she made Camille.
When one is discussing those who
have in reality discovered the golden
lining which e.xists for a fortunate
few behind the shadow screen, it is
not possible to determine their salaries
according to the amount they secure
each week or year.
The popular idea may be that the
famous stars of filmdom drive away
from the studios on Saturdays in
gold-laden limousines. No one who
believes this picturesque story has
explained how an artiste working in
Germany who drew the comparatively
modest salary of five hundred pounds
a week could stagger away with the
seventeen and a-half million marks
that would be involved at the present
rate of exchange.
The highest-paid artistes of the
screen are more often salaried in
return for their work in a certain
number of pictures, and percentages
on profits are often involved, in a
manner which considerably swells the
preliminary salary figure.
Mary Miles Minter is believed to
have received fifty thousand pounds
for starring in five pictures ; and
Geraldine Farrar was paid over ten
thousand pounds in return for her
work in three screen productions.
Charlie Chaplin's income has in-
spired many stones of the fanciful
order, but in reality, Charlie has not
collected so many millions of dollars.
Under his million-dollar contract
he received two hundred thousand
pounds for eight pictures, which, it
is said, it cost him ninety-six thousand
pounds to make. When it is remem-
bered that it has taken him five years
to fulfil his contract, a simple calcu-
lation reveals his approximate income
as being in the vicinity of twenty
thousand eight hundred pounds a
year. A fabulous salary, no doubt,
but scarcely one that lives up to the
golden stories which liken Charlie to
a twentieth-century Croesus, p. r. m.
DECEMBER 1922
Pictures and Pict\JKsOueK
19
^^"^n.rlv from the tret' had the
I J) I >ereli< t fallen so long
jO before that he had nearly
a " losl the feel." The wind
■ was his only master now,
• and only to its whip he
^L danced His place was the
^^■i * "utter and he kept to it
Aloof, unwelcome, he rotted along
the lane of days, cursing the turn
at the end for being so far away.
No hand was ever grasped in his ; no
eyes but the stars, the million eyes
of God, looked twice on him. When
he sneered, bitter at the kick of man-
kind, he was like a last spark from
the lire that burned when the world
was young and men were only nearly
men. When he laughed he seemed
an evil thing, an ungentle reminder,
a herald from the Last Civilisation,
when sun cools and earth dies ; an
invitation to the death dance of man.
-So men thought ; but he did not often
sneer, and was not evil now. No
kinder-hearted derelict was on the
lane. Dogs did not shun him, and
cats did not go indoors when he came
along. Yet there was not a man to
look at him. No man could think,
or stop to think, that he was once a man.
The rains of chance had washed
him to many strange gutters and
washed him as swiftly away again,
but this village of Lavender Street
WILL SCOTT
was the strangest at this time, on
the live of Christmas. Other Christ-
mases he had reposed in towns , in
market halls, in emptv houses, under
a railway bridge. Hut here he was.
Now he sneered ; for somewhere
behind the snow, earollers, callous in
CHARACTERS:
The Derelict - - Chris Walker
The Shopkeeper Jeff Barlow
Jack Kasi
The Policeman
Mother Brown
May Price
A PAX story' filmed by Quality Plays, and
released by the Walturdaw Co., Ltd.
ignorance, plucked a song from his
cradle and Hung it at the rot of him.
Christians, awake !
Salute this happy morn,
Wherewn . . . "
He had the face of an ivory image
dust-hidden on the shelf of a tired
shop — a face as ageless. As near as
he knew he was fifty ; but he had long
ceased to count the milestones beside
the road. A looped nail held another
man's coat around his bones. Behind,
along the lane of davs, a dust-bm
mourned the loss of the shoe and the
boot that gave his toes to the snow.
He had a battered hat : and a stolen
stocking, coarse and holed, served
for a collar. But m Ins pocket wen-
two pennies, hot with a day's grip of
his only bank.
Appy morn ! " he grinned, pulling
the stocking tighter about his throat
and wiping the gathered snowtlakes
from lus beard. " Christians are
awake all right. Appy morn !
He stepped in nearer to a wall's
shelter, where an evergreen tree hung
over and made a pauper's roof. In
five minutes the earollers were un-
heard, moved off, maybe, to some
other place. The Derelict yawned
and stretched his frozen arms.
Not a yard behind stood Police-
Constable Merridew , erect and official,
all white, but with the glint of his
official buttons shining through ; a sym-
bol of what Santa Clans may become.
" What about it ? " he asked.
Oh, there ain't much about it.'
said the Derelict. " Seems as if some-
one's havin' a lark with us, don't it ?
Compliments of the season to yer.
You 'aven't got a Ritz about 'ere,
'ave yer ? "
He shuffled away along the little
street and left Policeman Merridew
to sort it out.
20
Pict\iK25 and Picture $oer
DECEMBER 1922
Well named was Lavender Street.
The scattered cots of many other
villages were here come in to the
roadside, and two lines of ancient
buildings, stretching for a quarter
of a mile, was all Lavender Street
could show. Behind were bleak
woods and bare fields hidden
now by the night and the
snow.
Twice in an hour had the
Derelict's tracks marred the
white of the little street, but
he was unwilling to plunge
again into the pits of dark
to north or south. Late
had thrown him, this
Christmas Eve. into this
Christmas-card-like corner ;
and the man who had
known no home for un-
counted years was too
weak at this time, too beaten
now, to tear himself from the
sight of the happy homes of
others. The lights in the little
shops were warming ; the
thumped-out pantomime songs
from unseen pianos set his
heart dancing. They reminded
him. . . . Once he nearly
danced himself. " Christmas
comes but once a . . . life-
time. . . ."
The carollers returned.
" Rise to adore
The Mystery of Love ..."
The mystery of love. The
mystery of love ! Ha !
A woman passed the Derelict,
hurrying through the snow — an old
woman, with a light in her eyes that
the world does not care to see and
mostly dims. A thin shawl was about
her, held by thin hands. She clutched
a cheap purse firmly.
" Rise to adore
The Mystery of Love ..."
The woman echoed the carollers'
song and laughed a shrill laugh. The
Derelict saw that the snow and her
hair were as one.
" Merry Christmas ! " she called
back.
" Merry Christmas I " he responded.
And that reminded him
Lrom out an alley slunk two boys.
The thin laugh of age was strangled
by the guffaw of youth. Four young
hands swiftly dipped. Two snow-
balls cut the frosty air.
The old woman staggered back
beneath the blows, then peered through
the falling flakes without surprise.
She wiped the snow from her cheek
slowly.
You shouldn't do that," she said
feebly. " But ye're only young.
It's ycr fun. Ver'll never be young
any more."
The Derelict shuffled across the
road. No kinder-hearted dere-
lict was on the lane. Dogs did not
shun him. Sometimes boys did.
He was surprised to find so strong
a ^rip left in his shaking wrist. The
boy he held squirmed and cried
whether it was to be old Atkin-
son's, or the cake shop at the
other end of the street, or the
cottage where oranges were shown
for sale in the kitchen window,
he could not decide. An orange
was twopence now — just for one ;
and a cake was soon done.
The " Red Lion " was, of
course, out of the question.
" If you could spare a little somethin',"
he said. " Not money — I'm not that sort."
aloud. The other vanished back into
the alley.
" It's only Mother Brown," pro-
tested the captive. " Get off my arm.
Who are yer ? I never touched you.
She's only Mother Brown. It'll be
worse for yer if yer don't let go my
arm."
" Let him go," came the thin
voice from over the way. " He's
only young. Now, let him go."
The Derelict flung the boy, yelling,
back into the alley and walked away.
Mother Brown hurried along the
street to Atkinson's, and here she
went in. /
Atkinson's had been established
for three hundred years. The hand-
written notice on the little window —
where one of the panes was gone-
said so, and for further proof, there
.was old Atkinson himself behind the
counter. The place was a wonder-
land. There was nothing the heart
of man desires — from the cradle on —
that could not be found within its
magic walls. Cigarettes (all chocolate
or all saltpetre ; take your choice),
last year's almanacks at half-price,
liquorice comfits, boot - protectors,
kali " suckers," corkscrews, comic
papers, fly papers, peg-tops, lemonade
powder, mouse-traps — he was a so-
phisticated fellow who could not love
it. Loving old Atkinson was another
matter. He was a surly brute.
The two pennies in the Derelict's
grip were not merely hot ; they were
burning a hole in his pocket. But
H
is breath thawed the
frosty fresco on the
window pane. He saw that
Mother Brown was buying
fairy balls and cheap Christmas
candles. Then he noticed that
the Wizard Atkinson had cigar-
ettes offered in very nice packets
at twopence for ten. He had
not bought cigarettes for — oh, for
years. And Christmas comes
but once. . . .
So the Derelict shuffled in.
Mother Brown was packing
her purchases into her bag. She
smiled a tired smile at old
Atkinson.
I always mean to save 'em
every year," she said, " but
somehow they get broke. It
comes very expensive when yer
don't manage to save 'em, spe-
cially when you've got to wait
so long. I should think 'e won't
be long, now. 'E'll have to
'urry, though. I can't 'old out
much longer, and that's a fact."
She fondled a bunch of Christmas
candles, and the Derelict saw that
her eyes were wet.
"I'm seventy-five," she went on
proudly. " Seventy-five. But yer
can't keep on fer ever."
She turned and saw the Derelict
lurking like a shadow in the doorway.
" Can yer ? " she said, addressing
herself to him. " Yer can't keep on
fer ever. I'm seventy-five. Seventy-
five, you know. I bet you wouldn't
think it. I don't look it."
" No," said he.
She matched the colours of the
little candles one against the other.
Then she drew her hand across her
mouth and sighed.
" They're for my boy," she ex-
plained. ' 'E went away from me
when 'e was nineteen. An' I did love
'im, though 'e never thought so. I
put 'is Christmas tree in the old
window every Christmas, an' light it,
just like when 'e was a nipper, to
show 'im the way if 'e comes back
'ome. They do come back 'ome
sometimes. I've read in books— an'
then there's that 'ymn. . . . But
it's a long time. Thirty years. D'ycr
understand ? — thirty years, an' 'e ain't
come yet. You think 'ell come,
don't yer ? " she said suddenly, peer-
ing with failing eyes at the Derelict.
" My sight ain't what it was. Ain't
you Dilnot's lad ?
"No, "said the Derelict, embarrassed.
" Well, don't you think 'e'll come ? "
" I should think 'e'll come right
enough," he replied.
DECEMBER 1922
Pict\iK25 and Picture Qoer
21
" Thirty years is a long time," said
the old woman. " An' 'e was only
nineteen when 'e left me. P'raps 'e
won't know the way back after all
this time. I know they sometimes
do come back, 'cause I've read in
books an' stories. . . ."
She dropped the candles into her
bag and fumbled with her change,
making a pretence of counting.
" I always light the Christmas tree
an' put it in the window, the same as
when 'e was a nipper, so's it'll show
'im the wray if 'e takes it in 'is 'ead
to come back 'ome to his old mother.
My ! but we'll 'ave a do if 'e comes.
I've always 'ad an idea 'e might
come on Christmas Eve. 'E went on
Christmas Eve."
She peered up again at the bulk of
the Derelict.
" It's my boy I'm talking about,"
she said. " 'E's left me. Every
Christmas Eve I put the tree in the
old window. I've got an idea 'e might
come back on Christmas Eve. I bet
'e'd 'urry if 'e knew what a do we
was going to 'ave when 'e got back.
You don't think 'e can have for-
gotten me ? Eh ? "
" They don't ever forget," said the
Derelict. " They don't ever forget."
" Thank you," she said simply.
And then she went out without
another word.
" Packet o' them fags at two-
pence," said the Derelict huskily.
" Spare us a match."
He lighted one of the cigarettes and
went to the door. Along the little
street the figure of Mother Brown was
disappearing in the storm. He looked
back across his shoulder.
" What did they call the old
woman's nipper ? " he asked.
" 'Er ? " said old Atkinson. " Lord !
?\
You wouldn't believe it. Algernon
Rutherford ! Can yer credit it ? She
gave it 'im so's e'd get on in life a
bit. You know the idea —fine feathers
make fine birds. An' they did. They
made a fine bird of Algy — Algernon
Rutherford Brown.''
" What d'yer call this city ? " the
Derelict asked.
" Eh ? City ? I don't know any
city. This is Lavender Street."
" Lavender Street ? Nice name."
Old Atkinson slipped the Christ-
mas-candle box back on to the top
shelf.
" Yes, 'e was a fine bird, 'e was,
an' no error. He paid 'er before she
was rid of him. Bashed her I ' Is
own mother ! She'd call 'im John
next time, I'll bet — if she could 'ave
a next time. An' that's the sort o'
rubbish she sticks up the Christmas
tree for ! But what can yer expect —
Mother Brown. You know."
Old Atkinson tapped, his forehead
and made a mouth.
" Loopy! " he said — " but it's good
for trade."
The Derelict shuffled back into the
shop, his eyes blazing. With one
sweep of his arm he cast the wares
on the counter to the floor. Swiftly
he flung the stool across the room.
It caught the kitchen door and shat-
tered the glass.
' 'Ere ! " protested old Atkinson.
" What's the game ? If I wasn't an
old man "
' This, ' bellowed the Derelict, point-
ing to the wreckage, " this ain't so
good fer trade, is it ? Another time,
think twice and watch out. If you
was a young 'un, 'ste'd of a old 'un,
I'd bash in your precious face so
pretty yer whole rotten family'd 'ave
a chance to see if they looked well
in black. I'd make it good fer trade
at the 'am shop 1 That's all."
He turned and shuffled out of the
shop, laughing.
Later in the evening he stood in
She was on her feet, trying to see with age-
dimmed eves, trying to think with tired
wits. " Come," he said, " Mother I "
the storm at the other end of the
village, staring at a lighted Christmas
tree that showed from the window of
a humble cottage. A friendless- dog
stood hopefully beside him. A home-
less cat purred at his feci. Logs and
cats always seemed to know. With
none of the art that had come of long
practice, he tapped upon the door
timidly, as if lie were afraid or
ashamed. And when the door was
opened, he was afraid — so afraid that
he fell back on his art to gain a little
time.
" What is it ? " asked Mother Brown.
If yer could spare a little some-
thin'," he said. " Not money — I'm
not the sort— but a bite or a crust.
It's Christmas Eve."
Mother Brown nodded and rubbed
one wasted hand across the other.
" Well, you mustn't come in," she
said. " I'm all by myself, an' you'll
'ave to wait outside. I'm expecting
my son in any minute, but I'm all
by myself now. If you'll wait I'll
get you somethin'."
She went in, half closing the door.
He saw inside, upon a battered
dresser, a fading picture of a young
man of another generation, a good-
looking young man, but with a weak
face. There was a sprig of holly upon
the frame.
Mother Brown returned with a
cup of steaming tea and a plate piled
high with fresh
bread and-butter.
22
Pictures and Pic/-\jKeOuer
DECEMBER 1922
l.onk ! " said the constable. He flashed his lantern over tlie wall.
You tan stay on the step if you
like," she said, "only you can'1
come in. I'm alone 'ere. My son
may be in any minute, an' then
yon can come in. We shall he 'avin'
a hit of a do. I don't like not to ask
yon in at Christmas, but you see 'ow
it is. You Can stay on the step."
1 le sat upon the step and ate greedily.
Through the door he could see her
sitting in the rocking chair, gently
rocking.
Must be nice 'ere in summer ?
lie ventured nervously.
"Oh, it is," she said.
" Now 'ere's a nice bit o' garden,"
he went on, waving the (racked tea-
cup. " A real nice bit o' garden
fruit-trees an' a dog-kennel. Any
dog ? "
" Xo1 for many years."
" No ? Well, I know a. dog that'd
just lit it. A garden like this, an'
the 'ouse, not working too 'ard, 'ud
keep a body just nice an' busy, eh ?
I mean without gallivantm' about
everywhere, up an' down just staying
at ome. . . . You don't look after
yer garden much. Now, that 'ole
in the fence there a horse could get
through that."
lie heard her sigh.
I'm seventy-five," she said. " I've
got past all that. It's a man's job,
really. Mv son
She broke oil and stared with un-
seeing eyes at the Christmas tree. He
sat. upon the step and leaned back
against the open door, with the snow
flakes falling all about him. looking,
at her with a look that the dogs knew.
lie was the kindest he. 1 1 tec I derelict
on the lane, but only the dogs knew
that.
The old woman rocked and rocked
steadily to and fro, sighing and
glancing at the picture under the
holly spri'j;.
It's my boy I'm talking about,"
she murmured. " Thirty years, you
understand I'd hardly know 'ini. I
might not know 'im."
The Derelict stood up and stepped
into the room and laid the cracked
cup on the table. The old woman
watched him very closely.
I said you wasn't to come in,"
she said feebly. " My boy isn't
home yet. I've put the Christmas
tree in the window, but . . . you
really can't come in."
Me came nearer to her and smiled.
Yes. I seen the Christmas tree."
She stared at him and passed her
hand across her mouth.
I seen it," he went on, " an' —
an' yer boy is 'ome ! Algernon
Rutherford is 'ome ! 'E seen the
Christinas tree an' 'e come back.
This is the last time ye're goin' ter
light it. 'E come back for keeps ter
you an' an' the garden an' the old
dog an' an' all the lot of it. Per
keeps." She was on her feet, panting,
trembling, trying to sec with age-
dimmed eves, trying to think with
tired wits. lie smiled and threw his
nervousness from him and. held out
open arms.
" Come," he said. " Mother ! "
She lurched forward and clutched
at his coat. She looked up at him.
Then she seemed quickly to wither.
" Alg
Suddenly she screamed and fell
towards him, and before he could catch
her she was limp at his feet, lie
bent over her, and then stared round
the room, with a crushed and beaten
look.
" Strike me ! " he said, " if 1
ever seem to do a thing that gins
right."
And in truth the Christmas tree
was lighted lor the last time. Mother
Brown was dead.
'"Inhere was a considerable to do.
1 The chattering neighbours filled
the doorway, trying to forget the'
hard things they had said. The
doctor could only say that she had
died a natural death. The Derelict
could only say that the shock of his
return had killed her.
It was me comin' back 'ome after
all these years," he said, glancing
round sadly at the " home." " Thirty
years is a long time."
You come off yer perch," said
Policeman Merridew. " I want you
to come along with me to the station
for bashing up old Atkinson's place,
an' to answer a question or two."
Policeman Merridew drove away the
curious and marched the Derelict away
down the street.
At, the wall of the little churchyard
he halted. Lights were shining through
the coloured windows of the church,
and voices were heard in song.
lx>ok here," said Policeman Merri-
dew suddenly. " 1 seen you wallop
them boys for snowballin' the old
dame; and as for old Atkinson, I'd
'avc bashed him up myself, sooner
or later. I 'ope I'm not too stiff.
It's Christmas, after all. You skip,
and 111 tell em you overpowered
me. 1 can't do more than that.
There'll be a row, but it is Christmas."
" You're a gent," said the Derelict.
" May you be made a judge ! "
" Tell me one thing," said the
constable ; " why did you kid yer was
Mother Brown's bov ?
^Phe Derelict saw that the little
J romance was faded.
" Oh, I dunno," he said. " I was
always a mushy-'earted sort of a fool."
The carol floated to them from the
little church :
" Rise to adore
The Mystery of Love . . ."
" I reckoned somehow that she'd
be going pretty soon," said the
Derelict. " An' if she could be kidded
'er long-lost boy ad come back to 'er,
it might cheer 'er up a bit for the
last round. That's the way I looked
at it. An' then it was a bit of a 'ome
for me. It's thirty years since she
seen 'er son. Well, it's a bit mor'n
that since I seen the nearest I 'ad
to a 'ome."
The carol ended. The Derelict
rubbed his numbed hands together
and laughed.
" What I should 'ave done if the
original Algy 'ad turned up, 1 don't
know."
" I say," said the constable. " Look."
He Hashed his lantern over the
churchyard wall, full on a plain
wooden cross. The Derelict looked
and saw the inscription :
To
THE Memory of
Algernon Rutherford Drown,
who
I >i parted this Life on
Christmas Eve, 1889,
AGED
nineteen YEARS.
DECEMBER 1922
Pictures and Picture poer
Hello1
r Christina
23
Helene Chudwick. Lois Wilson, Ruth Roland
and Constance Binney in Santa's shoes.
24
Pict\JK25 and Picture Ooer.
DECEMBER 1922
Above: OUi , Dorre and Harry Korndrup ., "Pip" anj
batelle in "Great Expectation*."
RitfKt: "The Murd.tone." and "Mr.. Copperti.ld " in
Nordi.lc'a " David Copperfield."
DECEMBER 1922
Pictures and Pict\jKeQoer
27
Likewise This One.
" Me for ;i quiet time this year,"
Hex Davis 'led. ircd. " I shall not be
knocking any villains about before
dinner, nor seeing Crimson Cir< les
after. Just ourselves, and a lire. No ;
no house party. Not 1 his year. As
to the New Year, well I'm still an
Optimist, you know So we'll leave
it at that."
Circumventing the Calendar.
" Whatever shall I do this Christ-
mas, " wondered Violet Hopson,
"if my work takes me to the South
of France, winch seems very likely ?
And whatever will Nicholas and
Jessica do ? Because I've always
spent Christmas at home with my
loved ones; and it the Riviera is to
be my filming ground, it will be the
first year my children and 1 have
been separated. We shall simply
defy the calendar, and keep Christ-
mas when 1 return to England."
The Outdoors and the Inner Man.
1 love Christmas in England,
though I've spent so many abroad,"
was Yicto'r McLaglen's mandate.
" 1 mean to go skating, if only the
weather will oblige. I'm fond of
tobogganing, too, though when we
tumble— which does happen some-
times it isn't always great fun for
the fellow 1 fall upon. But it's great
sport. Healthy exercise in the snow
gives one a wonderful appetite for
Christmas fare and I like turkey
and plum-pudding. The charms of a
country Christmas attract Gregory
Scott, too. " I shall positively play
golf,'' said he, " and probably go
a-hunting. In any case, I shall have
a good time. 1 always do at Christ-
mas."
" The Green' Caravan "-ers.
" 1," said Valia, the " Vamp."
of the Green Caravan, " mean to
sit and toast my toes before the
largest fire I can build. I shall long
for the sunshine and the springtime,
and thank goodness I'm not in
Russia whilst the snow is on the
ground." " And I," said Catherine
Calvert, " expect to be appearing
on the London stage, so I shall not
be able to be at home. But home's
wherever little Paul is, and we shall
have a tree and a turkey in English
fashion." Catherine Calvert is Mrs.
Paul Armstrong in private life, and
her small son Paul is her one and
only hobby. He is a bright little
fellow, and last time I saw him could
talk of little else but bis " family,"
as he styles the stray kitten he has
adopted.
" Holmes' Home Hobby."
Eille Norwood, no matter what
he may say to the contrary, is certain
to spend, part of his Christmas in
what he calls his " workshop " at
home. For he is playing " Sherlock
Holmes " in The Sign ■ >/' Four, and
as soon as that's finished, he is to
star in another fifteen two-reelers
in the Sherlock Holmes series
Entirely surrounded by grease
paint, hair, gum, and what appear
to the uninitiated lo lie nieili.iA.il
instruments of torture, Norwood
will perfect and plan out the
new disguises in which he will
be seen on [023 screens. Most,
probably he will try I hem out
upon his wife and daughter first.
Tony and Tod.
Undeterred by the painful pro-
press of the character he portrayed
in Gamblers III, Ton} Eraser un-
blushingly replied, " I'm going to
gamble," when 1 asked him what
he intended to do this Christmas-
Henry Yibart and his daugh-
ter. Myrtle, who play together
in " Weavers oj Fortune."
Circle : Catherine Calvcrl in
The Green Caravan."
tide. " Over at Monte
Carlo," he declared. " I shall in-
dulge in my favourite indoor pastime
until I've lost the wherewith. Unless
I win, which does occasionally happen.
In that case I shall extend my vaca-
tion until I am needed in my next
film." Malcolm Tod, who can be seen
in The Thief (Quality Plays.) this
month, told me that he expected to
be in the thick of a new production
at Ksher. " Hut, in any case," he
said, " on Christmas Day I shall eat,
drink, dance, lie in bed, slide down
anything 1 can find on a tea tray in
the snow, (I hope there's going to
be snow), and finish up by going to
town to dine with my mother a
tiling I've never missed doing yet,
and never mean lo Ini identallv.
Malcolm is musical, and owns to being
able to play almost anything playable,
One of his New Year resolutions is to
Bromley Davenport hopes his screen
latrimonial experiences won't come
true in real hie this Christmas.
become the owner of a saxophone,
and he has procured an extra large-
sized Christmas stockin g in the hope
that someone will deposit one of
these instruments of torture therein.
A Family Affair.
Henry Yibart, the famous "fa-
ther " in so many Hepworth
cesses, has had most of the best-
known British leads for his
"children," in one film or
another. Just now, he is
working at Davidson's ;
and, for the first time
in his career, his film
child is hisown daugh-
ter, Myrtle Vibart.
Myrtle is not so
well known to pic
turegoers as her 1 >ad
whose silvery hair
and benign cast of
features make him an
ideal exponent of fa-
therly roles. When they
were in the Chiltern Hills on
location for this film, which is
titled Weavers oj Fortune, the scenario
demanded that both should be out in
a heavj rainstorm. But, for once, the
British climate did not live up to its
rainy character, and so pails of cold
water were called into requisition. After
several drench in us, Myrtle decided that,
even film life has its draw-backs. Father
should have warned her in advance.
Two Busy Players.
1 met Clive Brook and his pretty
wife, Mildred Evelyn, dee]) in dis-
cussion of the relative makes and
values of fur coats. I leave it to you
whose coat it was to he and who won.
Clive and his lair partner only meet
after working hours these days : for
he is playing at Elstree, in Gret >.:
Island, and she is Doreen " in Paddy-
Ihc-Next-Jiest-Thing, at Islington.
28
Pictures and P/cf-urepoer'
DECEMBER 1922
FRANK MAYO
Spent three years of his career as legitimate actor in
this country. Has starred in many screen successes,
including " La sea," "A Little Brother of the Rich,"
' Tiger True," " Colorado," and " The Brute Breaker."
DECEMBER 1922
Pictures and Picture Qoer
29
CATHERINE CALVERT
Will be seen on the screen this month in the Granger
production, "The Green Caravan,'' and on the stage
next in a new drama. Her best-known films are
"Catherine Bush" and "The Heart of Maryland."
30
Pictures and Picture Over
DECEMBER 1922
I
VALIA
The beautiful Russo - British star, whose work in " The
Fruitful \'ine" won her a host of admirers amongst
British picturegoers . Site has since appeared in "A
Gamble in Hearts" and " The Green Caravan."
DECEMBER 1922
Pictures and Picture poer
VINCENT COLEMAN
Popular leading »nm of the movies : has played opposite
Constance Talmadge.
32
Pictures and PictureQoeK
DECEMBER 1922
■
J
DAVID BUTLER
Was horn at San Francisco in 1895. His screen successes
include "Dream Street," "Nugget Neil," "Upstairs
and Down," "Don't Ever Marry," "Bonnie, Bonnie
Lassie," "The Trifiers," and "Smiling All the Way."
DECEMBER 1922
Pictures and PictureOoer
33
If Inters
Above: Ruth Roland, well equipped for
wintry weather.
Right: Bebe Daniels.
M
Pictures and Pict\jre$oeK
DECEMBER 1922
Who'll do the washing-up ?
" I " said Shirley Mason.
" I ve washed - up in umpteen films
And never hroken a basin ;
I'll do the washing-up."
Who'll do the baking? ^^i
" 1 " said Dorothy Phillips Holubar ;
" For 1 know just what movie gas-
stoves are.
I'll do the baking."
DECEMBER 1922
Pictures and PictureOoer
35
O
You've met Betty many times on the
silver sheet ; but the hoydendish tomboy
of Squibs and Nothing Else Matters does
not exist in real life. This article intro-
duces you to the real Betty Balfour.
W ""^og. Dense yet drifting. Yellow,
H choking masses that floated
■ d hither and thither, as though
impelled by an angry wind.
Turning midday into midnight,
• which even the London lamps
W could not ^dispel. Emptying
the streets, and filling every
of the brightly lit " Picturegoer "
where a cheerful fire and a cosy
chair awaited Betty Balfour. It was a
cosy chair. Just for a moment I leant
back in it, and closed my eyes upon the
fog- filled room.
Some folks tikes life easy — blowed
if they don't," commented a sweetly
sharp voice. Beside me, full in the light
of the lamp, stood a familiar little
golden-haired, black-shawled figure, with
a huge half-empty flower-basket on one
arm. " A fair cop," she chuckled,
pointing an accusing finger. " Found
fast asleep at the post of duty. But
there ! Can't say as I blimes yer. This
fog's enough ter send anyone ter bye-
bye."
She put down her heavy burden,
straightened her shawl, and gave her
shiny straw hat a resounding tap that
set it at a provocative angle over her
left eye. " Know me ? " she asked,
with a merry smile.
" Of course," I stammered. " Espe-
cially in those clothes. But won't you
sit down, Miss Balfour ? I really didn't
hear you come in."
" Us come in," corrected my visitor,
emphatically. " And these are my usual
duds. Ain't Miss anything, though.
Name o' Hopkins. Commonly called
' Squibs,' 'count o' me angelic temper.
As for Betty Balfour, she's sitting in
her car, and her car's sitting in Hyde
Park, and likely to stop there till
the log lifts. So she sent us on ahead
to talk to vou, while you was waiting.
See :j ••
Following her expressive glance, I
saw five small fair-haired figures
detach themselves, one after another,
from the surrounding gloom
A comical little slavey extended a
grimy little paw without raising her
eyes from the novelette she was de-
vouring. "'Sally,' from Xothing Else
Matters introduced 'Squibs.' " "Pleased-
termeetcher," murmured Sally. " I
must jest see if Loocreeshia marries
the Hearl, then I'll put some coal
on fer yer. If yer like." Without
waiting for a reply, she perched
herself on the arm of the easy-chair,
and was lost to everything but her
book.
" I am Mary," said the sweet-faced
slip of a girl who came forward next.
" Just' an ordinary ingenue."
" But a nice bit o' goods, all the
same," supplemented Squibs. " ' Mary-
Find-the-Gold.' You know. I comes
next, if you takes us in order of age.
Number Three on the list. This is
' Mord Em'ly,' " presenting a funny
little damsel in a funny little frock.
" From Mord Em'ly."
" From Walworth," shrilled the
child. " And prahd of it, too.". She
danced forward sp energetically that
both stockings slipped well down
over her boots. " That's how I dance
into the film," she gasped, quite un-
abashed. " Have to dance when I
hears a tune."
" Verra unleddy-like, too. Hae ye
The real
Betty and
the reel
Pictures and Picture Qoer
Ask her. Ask her, chorussed the
others, their voices growing fainter
and fainter, and in a moment I was
alone in the room once more But,
even as I rubbed m\ eyes in amaze-
ment, the door opened and a tiny
figure wrapped in furs came hall shyly
forward.
I lie lo^ delayed me," she an
nounced, her charming face dimpling
into snules. Yon </>i look surprised.
I )id von think
Ibove ■' In " Airs and Graces," at
the Palace Theatre.
Right : .Is " I a Petit, Radio Rose"
in " Mm;
no garters ? ' came in ci isp a<
cents from a perfectly delightful
little schoolgirl,- whose bright
curls were tied with a smart tartan
bow
'Lost cm yestiddv grinnc<I 'Moid
Km ly ' "Got a [)in, Mary Pickford ?"
1 )inna ca' me t hat." Young
Caledonia was ver\ stern and wild
indeed. " Ye ken well I'm Christina
frae Wee McGrcgoi ■ Swe, tlu ai t. And
| J . Bell made a spe< ial point ol ma
cur-r-r-ls. Its sair enow to hae every
ither ti I ill critic mention those t nr rls
wi'out any remarks hae vou."
Moid Km'lv " made a gesture
more expressive than elegant.
Christina's eyes dashed. She seized
in adjacent paste pot, with intent,
1 believe, to use it as she used the
glue upon the saucy bo\ of Kilmabeg,
bul a bcautifullj gowned young lady
ca light her upraised ai m .
1 lere, none o' that ! ' she cried.
< )r out you ^o into the fog. Now
kiss and make friends, kids, and run
away and play. Thai s right, You
must always do as I sav, for I am
'Squibs II.,' and the character Betty
l< >ves t he most
'Sally' looked up from her reading.
I.oi, s\ot cheek!" she exclaimed.
She likes nir best, COS 1 was the
first."
' No. Me," cried ' Mord Lm'ly."
there's drama in my film." Tliere
was a chorus of emphatic assertions
from all those present. A perfect
babel of sound ensued, until I thought
there was going to be a fight
Suddenly Squibs I. " pushed her
w i \ out ol the Kr<)l|p and picked up
her basket. " Cheese it. Quick, " she
shouted. Ties Bet iv I hit "
turning to me "ask ei wliich she
liked best . Don't forget, now, will yer
mg ;
" Not e\
actly," I as-
sured her. " 1
was entertain-
ing six ol you
all at once just
now . "
I! e t t y
laughed mer
ri ly when 1
told her in de
tail about m\
visionary visi-
tors and their
farewell injunc-
tion. "Not
'Squibs'though
I'm very fond
n[ her. but
Christina ' is
niv fax ourite to
date," she confided, alter a moment's
thought.
" She was so real to me, and loved
going up to Strone (the Kilmabeg of
the story) and making scenes just
where they were conceived by the
author \ll those
odd chai acters you
sa w on t he screen
were real people
and the school-
house and school-
children, and the
shop, too, " That
weight\ question
settled, 1 begged
for info r m a lion
about Betty her-
self.
Long a^i i, she
began # dem urely,
but with a roguish
glance, " w hen 1
was a tiny, tiny
girl, I used to
sing, dance, and
imitate ever) artist
I s.i w on t he stage.
I sualbj about bed
nine. until my
Auntie and I nclc
used to wonder
what they'd done to deserve it
i In parentheses let me say that
Betty still is a tiny, tiny girl just
about the size of thai beautiful
big doll one always saw in one's
dreams about Christinas lime'. It
had shining spun gold hair, great
blue eyes, and a real bis< nit china
complexion. So has Betty, though
there's nothing doll like about her
personality eithel on or ofl the screen
DECEMBER 1922
The Vicar she continued, " per-
suaded them to allow me to take part
m a charity pantomime, li was \li
Halm, and m\ role ' Snetana. a
slave, was written in specially lor me."
I hd you say slave or slavey ? "
I impertinentlj queried.
Whichever you like," laughed
Betty. Anyway, that settled my
late I overcame all objections, and
became hist a Society Entertainer,
and then, at the age of eleven, a fully
wasn't com fledged actress I played a dramatic,
role in a French one-act play, and
several in the revue that followed it
at the Ambassadors' Theatre. Other
revue wink came next, until a German
bomb laid me low lor nine months.
Afterwards I was with 'The
Lollies ' for awhile, and then in
Medorah,' at the Alhambra. There
Mr. Pearson saw me, and. ottered me
the part of ' Sally,' the maid of not-
very much work, in Nothing Ills,
Matters ( >l course, 1 loved filming,
right from the fust. More than the
Stage, 1 think. Lor the screen reflects
life's comedy and pathos so faithfully.
And you know all about my films
after all my characters have told you."
" But about yourself," 1 insisted.
Mm '. " said Betty, who peppers
her conversation with a French word
or phrase here and there. " Well, I
live in London, with the dearest
Auntie in the world."
" And sjiend your days-
Very quietly. Work-
ing mostly. I'm at
the studio about y,
whether I'm due
fiettv at the age
.)/ eleven, and as
ihe is to dav
DECEMBER 1922
Picture 5 and PictureQuer
v
Betty Balfour and
Fred Oro\ es, in
" Squibs II ins thi
Calcutta S
Betty Balfi nr as
? nil y ' ' in
" Nothing I
M alters," her firit
on the set or no, and stay some-
times till q p.m. ; sometimes even
later. After that, bath, book,
and bed for Hetty. Yes ; I do
dance, but not often. I'm a very
sedate person, vou know, there's
nothing of the tomboy about
me."
With memories of Mesdames
" Mord Em'ly," " Squibs.' and
" Christina's " acrobatics still
fresh in my mind, I could not
suppress a disclaimer.
" Seriously, "prevaricated Betty.
" These pranks, though they
seem quite natural to me when
I'm acting, aren't part of un-
usual daily proceedings. I'm
not a bit athletic. 1 think it
conies with the clothes. I remem-
ber, when I was called for one
of the interior scenes for Wei
Mcdregor's Sweetheart, 1 came
running into the set and took
a ' rlyer over the top of the
shop-counter. It was quite un-
premeditated, but Mr Pearson
liked it so much that it was
retained."
1 Icr choice in books runs to-
hold tight, whilst I spring it-
volumes upon Psycho-Analysis
and similar profound delights.
She declares that these help
her to individualise her film
creations Write her down an
earnest, ambitious worker, with
a keenly analytical brain back
of those sunny locks, and with
the saving graces of a sunny
disposition to match her hair
and an ever-present sense of
humour.
Regarding her future plans.
I don't want to specialise in
particular parts," she
averred. "Character work
always, though, for me. I hope
to play an Irish colleen, some
time. Did you know that I was
offered Doris Keanc s role in
Romance,' when that plaj wen'
on tour ? " (Bettj s stage e\
perience has included many
strongly dramatic roles | "An
I mean to work very hard in
1923, But," she concluded,
quaintly, " the days I v\ or
the hardest arc the days 1 do
1 ithing at all."
Decidedly Betty should
an Irish role.
I mean,' she explained,
when our laughter had subsided,
that thinking out the details,
putting in the ' ginger ' you
know, that's the real work
More so than the acting."
Bui bringing, surely, like
all earnest endeavoui when
reinforced by genius, its full
subsequent reward
"Filming," as she humor-
ously described it, consists,
among other things, of Vou
mustn't do this on account
of the camera. That gesture
Oh ' Very ni< c 1 \\\\ vou
mustn't do that on ai < ount
of the lights. And you
mustn't do that, either,
because of something else.
( >ther\\ ise, it's .1 great
life" Given *\ith Betty's
eflfe 1 ive by play and eye-
play), this was far funnier
than it looks on paper.
We talked, of the new
blue-and-gold colour-
si heme of her dn--s
ing room, and of
the Harlesden *f~ "-" _
Pictures and PictureOoer
DECEMBER 1922
general holiday, and everywhere the
shops were closed. ' Squibs ' makes
qnite^i tour of the Paris emporiums.
The Piccadilly scenes, too, were
a bit of an ordeal. You see, I had
to rush across the road by the Tube
studios, where everyone is Polly-
Anna-ish every day in every way,
without benefit of Coue.
Betty likes working
better than filming out
" On the whole, that is,'
meditatively ; " for, of
loved going up to Scotland for Wee
McGregor's Sweetheart, and to Paris
for Squibs Wins the Calcutta Siveep.
But, somehow, although I use very
little make-up, it and the sunlight
seem at variance with one another,
and I am not really quite at ease. In
the studio, though, everything is
different, and I leave Betty Balfour
outside the moment I step on to the
' set,' and become ' Squibs ' or ' Mord
Em'ly,' or whatever character I'm
playing."
France knows Betty Balfour quite
well by sight. " Imagine my sur-
prise," she exclaimed, " when, film-
ing in Montmartre one morning, an
old, old Frenchwoman came up and
spoke to me — in English, too. She
was very kind; and wished me all
manner of nice things. And then I
spoke French to her, and she liked
that."
Betty accounts for her perfect
accent by the fact that she had a
governess. She has numerous correspondents
in Belgium and France. " And answering
these," she laughed, " keeps me from for-
getting how to write it."
I hoped we had not seen the last of " Squibs."
" I hope not too," cried Betty. " She was
originally a one-act play, you know. Mabel
Russell acted in this, and then, when it was
made into a film for me, it was amplified a
good deal. She is a splendid character, I
think — a girl who had to always plan and care
for others besides herself, fight her way along
in a none too friendly work, too. Yet she did
not grow hardened at all, kept sweet and true
throughout, despite her sharp tongue and
rough-and-ready characteristics. In Paris, we
could not do much filming for some days on
account of the Fete de l'Aacension. It is a
there at the busiest time of the day,
and then, as you know, fling my arms
around a policeman and kiss him. Well
nobody told that man on- point what
was in store for him, and his look of
surprise was one of the most comical
things I've ever seen. No. There wasn't
a rehearsal, and there weren't any
re-takes."
Betty told me, also, that her shiny
straw hat is one of the last of its kind
extant, and was procured especially for
her from a manufacturer of this
head -gear. She spends much of her
scant leisure " at the pictures," and
studies the audience as well as the
show.
Hearing that I had met Mary Pick-
ford, Betty, who is an ardent Mary Pick-
ford fan, cross-examined me closely as
to what Mary was really like. But
waxed sceptical when 1 quite truthfully
told her that Mary Pickford was very
much like Betty Balfour. Betty denied
it, all the way down the passage. " I
assure you," were the last words that
came in fog-muffled accents, " that,
much as I admire Mary, I've never
modelled any of my characters upon
any of hers, though I've seen all her
films."
Granted, hands down. Betty's
methods are as entirely original and
unique as Chaplin's. .She has far too
much personality of her own either to
need or desire to model herself upon
others. Nevertheless, the likeness is
there. And it is something deeper than
outward characteristics. Like Mary's,
Betty's art does not depend upon sub-
titles, and her screen types are world
types of optimism and high spirit. s
Also, she has youth on her side, and
ambition is her middle name. But the
real similarity lies in a certain innate
winsomeness and wholesomifiess, a sim-
plicity of manner, a compelling charm
that is difficult to define, but easy to
discern. And if you ever meet Betty
herself, I think you'll agree with me.
JOSIE P. 1.1'IIBKBR.
" Squibs "-—before, and after winning
the Calcutta Sweep. The gentleman
with the egg is Hugh E. Wright.
French
French
DECEMBER 1922
Pictures and PictureQoer
39
LA
The great barn - like
studio, built by the
liluelight Company,
to the north of London,
was empty of the
usual crowd. Only
in one of the sets some im-
portant work was on hand,
and Thomas Merwood, the
great director from the Pacific coast,
was talking eagerly, yet quietly and
with infinite patience, to Diamond
Dare, recently promoted to stellar
rank in the Biuelight firmament. For
a wonder, they were quite alone, and
Merwood had cleared the studio of
everyone but the camera-man, an
assistant, and some musicians tucked
away in a quiet corner where they
played softly to help the emotional
atmosphere, and the director had
announced his intention of keeping
the girl there until she produced the
tense emotion needed for this vital
scene.
It looked likely to be a long busi-
ness, for the little star was highly
sensitive, and declared she could not
act with a crowd of hangers-about
watching her in idle curiosity. She
was, in fact, giving a good deal of
trouble, but Merwood had humoured
her, and now, although the corridors
and dressing-rooms of the great place
were full of people, he and she were
practically alone ; the master musician
who knew how to play upon the
DY JJ20UBRIDGE
A complete story of studio life, telling
of a movie star's terrible ordeal.
heart-strings of millions he never saw,
and the human instrument on which
the gamut of emotion was to be
played and registered in that flawless
face of hers before the ruthless camera.
Thousands of pounds had already
been spent on the film, and it was at
his instigation that Diamond had
been taken from the great South
Company, where she had been a
" near-star," and elevated to the
stellar role in this super-production.
This had not been done without
some opposition from the directors
of the company, who doubted whether
the blue - eyed, wistful girl, beau-
tiful as she was, had enough experi-
ence to get over the broad human
stuff necessary, and they had pointed
out that her physique was too de-
licate, too ethereal for the exacting
demands which would be made on
it in the bigger parts of the film,
though they granted that in the
tender domestic bits she might suc-
ceed.
Merwood had insisted, and the
higher powers — those who put up the
forty thousand pounds which
at the lowest the production
would cost — could not afford
to cross him. He, too, was
a star director, a wizard, a
magician, and his word was
law.
He had declared Diamond was, or
could be, a marvel, and that stored
up in her delicate personality were
the potentialities of a wonder actress.
Almost he had added that he staked
his reputation on her success; and'
yet, after all this, she was not
" delivering the goods."
She was, in fact, being a failure in
this — the scene of the play, and it
was just one of the human touches in
which he had felt so sure of her.
It was quite a simple scene. A
tense domestic bit of drama — a
mother-love thrill, sandwiched between
big scenes of historic interest, in
which great crowds were employed.
Here there was to be nothing but a
woman alone with her agony, yet
everything depended on its exact
presentment.
Diamond herself was conscious of
her failure ; miserably ill at ease and
nervous.
" It's no use, Mr. Merwood," she
said. " I just can't feel a thing, and
if you can't get it out of me, no one
can."
They all felt that with Merwood —
that he knew them better than they
40
Picf-\iK25 and PictureOoer
DECEMBER 1922
knew themselves ; glimpsed at powers
,iiKi !>■ is>i bilities in t lieir sulx on
scions selves of which they were
ignora hi
I 1 1 1 1 was one i 'I the sect < i - ol his
power, and it w,i> then be came and
sat beside her in the deserted studio
Diamond knew him well. Slu had
broken into the movies at 1 <>s \u-
geles, and in time had reached some
small pinnacle "I" lame there, greatly
owing to Merwood's recognition of
liei powers Then sin- had married,
and come home, and now, widowed
and with one child, she had met
Rupert (as in unofficial moments she
called him) again, for he had crossed
the Atlantic to wield the megaphone
in tin- service of the Bluelight Com-
pany, who had established themselves
in a branch office, as it were, in London,
from where they explored Europe for
atmosphere. His choice <>f her had
me. ml a good deal to Diamond ; but
the chief thing it had meant was
that she would see him again. 'That
gave her a warmth at the heart, and
she felt no fear of him in his harshest
mood, because, carefully as he had
hidden it, she guessed there was
more in his constant goodness to her
than managerial policy There was,
in fact, the spark, though, as yet, it
had never broken into a blaze.
" See here, I Hamond," he said
" You and 1 are going ,fl figure this
out together Don't get rattled, and
don't pull any fool stuff of not being
able to do it. You've got to do it,
girl. Now, listen to me. Your child -
youl only one is shut up in a burn
ing building. You know it, because
from the window you have seen the
place on lire, and you know she is
there because you left her there ;
luii you can't gef back to her, because
the door is locked. . . . figure it
out to yourself. A locked door
between you and thai child you've
got tn save. Now, do you get that ?
lie got up and moved away.
"There's the window, Took out
of it, catch sight of the fire. You
can't mist, ike the building It stands
up against the sky line. Hut at first
you don't grasp what it means Then
the thought comes Now. go ahead,"
Diamond got up, moved in the
restricted space to the window in the
little set. and looked out, working
herself with the thought of her own
kiddie, little Komaine, for whom,
-nice her early widowhood, she had
sold her beaut) nd her leisure to
the films, and who was now sleeping
peacefully in the big Pavilion Hotel,
two miles from the suburb whin- her
mother was working she often
thought of Komaine when she wanted
emotion, for her love for her lay close
to the mots of her existence, the
springs of joy and sorrow.
Ycl somehow, to-day, the proximity
of Mel wood, instead of helping, hin-
dered her. The director was cut out
by the man w hose presence troubled
and excited her. so that she found
herself dwelling on the look in his
What did that sternness
t la: i aress in .his \ i lice
steady ryes
hide thai
1 1 \ c.i led ?
Her face softened at the thought,
and her mouth curved in a sweet,
placid sadness, though her eyes did
open in simulated terror.
Holy Moses! said Merwood.
Arc- you at a tea light, and have
you found too many currants in the
bun you are eating? " Then he
controlled himself, called up big
reserves of patience it was easy
with her and began again.
Sec, here. Diamond, this is life
or death This film child of yours is
going to be a dead one in a minute
or two It isn't a case of pulling a sad
face You've got to get every man,
woman and child in the audience
holding their breath. He dropped
his voice. " Have you ever
thought what death by fire
would be ? 1 have, and it
scares me to think of the
scorching breath of the flames,
nearer and nearer, and no
help, no escape. None. Then
think of the victim — a child —
a creature too young to plan or
to act. ... A little trapped
thing. . . . and your own ! "
His voice held all manner of
vibrations- -passion, tenderness,
and deep pity. It touched and
shook her, not as the voice of
one artist calling to another, but
as a man speaking to a woman
as Rupert speaking to her.
She struggled to rouse herself.
" Oh, Mr. Merwood, isn't it ter-
rible ? 1 feel just like a stone. Why
ever did anyone give me the part ? "
His eyes looked grave.
I gave it to you, and you've got
to make good, if it's only for my
sake
" I'd do anything to please you,
Rupert, but— ' she spoke dreamily.
He was stdl getting between her and
her part, and perhaps he know it.
" Sure sure," he said soothingly.
Sit quiet a moment, then we'll
take it again."
He left her, but there was no quiet,
for a sudden commotion seemed to
spring up into voices and clamour at
tlie other end of the studio, beyond
the circle of arc lights in which she
sat.
A voice called her. " Where's
Miss Dare ? "
Diamond hardly answered. She
telt a deep impatience at the in-
terruption, for it, the feeling
required, seemed to be coming
at last, and she must get
Mae \turray [Metro Slar),
She got on to her tret, but, to her absolute
horror, could not move. Perhaps the .'."as
dumb, loo, fot her whole being felt para
DECEMBER 1922
Pictures and Picture poer
Mrtm itfir)
Diamond hersel) was :onsciou$ oj her
failure miserable ill at rase and nervous.
it, must succeed -not only for herself
and Romaine, but for Kupert as well —
Rupert, who had backed her through
thick and thin, and who . . . well, there
was no room in her life for love ... no
time . . . otherwise , .
'Miss Dare," said the insistent
voice again, " the Pavilion Hotel is on
fire."
" Nonsense ' said Diamond.
" What are you talking about '
" It's true, Miss Dare. It's true.
Message just through on the 'phone.
Manager says thev are trying to get
your little girl. Fire brigade are on the
spot now, but the nurse got scared and
ran away, and ..."
Partial realisation came to her like
a sheer rending of the heavens above
when forked lightning tears the sky
She got on to her feet, but, to her
absolute horror, could not move.
Perhaps she was dumb, too, for her
being felt paralysed ; onlv a hoarse
shriek parted her lips drawn back over
the white teeth like a terrified
animal's a shriek that rang through
the studio.
" Shoot ! " cried a voice ; but she
did not hear it. She heard nothing.
She was struggling to move . . . to
run . . .
Romaine . . Baby . . . "
No one who saw that beautiful con-
vulsed face ever forgot it, and about
five million people were destined to see
it later on.
Then power to move came back,
and she turned this way and that like
a rudderless ship in a storm. " Ro-
maine . . . oh, won't somebody help ?
She's on the fourth floor . . . the fourth
floor, I tell you ! Rupert ! Rupert . . ."
Then, at last, the frantic rush
forward and the fall to the ground.
She came round to find Vivien Clive,
who was playing a vamp part m
the same production, leaning over her.
and. as she started up screaming.
Vivien pressed her back on the sofa.
" Hush, Diamond, for pity's sake "
" Romaine . . . Romaine . . . ( )h,
Vivien, let me go . . ."
' The kid's as right as rain. Why,
it was all a fake, dear — a trick to get
you going. I've seen things done
before too often not to know. Didn't
you hear Merwood telling the camera
man to ' shoot ' My dear, you were
simply magnificent . . Why, what's
the matter now 5 " -as Diamond fell
back
" And I loved him," she moaned.
Vivien caught a word or two.
" My dear little Angel Face," she
said, " there's no love counts here.
They'd walk on broken hearts all the
way to the great god Success. I know
them, and Merwood s the worst of
the lot."
" Go fetch him, Vivien," whispered
Diamond. " I've something to tell
him."
Directors, even those in love, are not
easily fetched, and an hour passed
before Merwood, treading softly, came
to the dressing-room where the little
star lay. with hair unbound, and ashy
fa ce .
" Rupert," she said to him at once,
" I'm through. 1 could not have
believed it of you. No more of this
job for me !
" Is that so, Diamond ;
He stood with his hands behind him,
looking down at her, his face im-
passive, his eyes alight.
Yes, that's so. I 've found out two
things; and now I know them, I don't
care to go on living."
" And what are thev ?
She raised herself on her elbow, and
her gold hair fell, half-veiling her fa< i
One is, that 1 love you, Rupert."
The light grew to a leaping flame.
I made that same discovery as
regards you, myself."
The other is that you arc not
v orth loving."
"Is thai so ; Marrv me and i I
it."
\'o, Kupert. I'll marrv no one who
trades on sacred things
1 've never done I hat yet said
Merwood squari
Rupert . it v\,-is von told t he
camera man to shoot, wasn't it '
Yes, it was. 1 gave the order
before I . . . left
You photographed my awful
misery when I thought your yarn
about the fire was true
Certainly I did. Your look was
wonderful. It was my duty, when you
registered your emotions so mag
nificently, to take them."
Then its .ill 1 1\ er before it s
even begun. Rupert, I could have
died for you, and now it won 1 even
hurt . . . much ... to say good bye
You mean th;. .. And I'd just
begun to see here. Diamond
She sat up, pushing the meshes of
shining hair from alx>ut her fai e
and looked straight into his eves
Rupert," she repeated, firmly.
I'm through through, do you heat
me. Through with movie work, and
through with you for ever. Once,
for a little while, when I came back
home again, friendless, penniless, al-
most, alone except for little Romaii
and you were so friendh and kind to
me I thought, 1 hoped-
" } loved you, Diamond. Way
back in Los green little extra girl
you were, then. I knew you had the
goods, too. Though you got rattled
so easily. See, here
" Good-bye, Rupert. There must
go
d I.
at
be other work 1 can do. We will
awav somewhere- Romaine am
and- — "
" Shake hands, Diamond, and
least part friends."
She put out her hand and touched
his— which he slowly drew from
behind him.
It was bandaged from fingers to
elbow. She drew back, staring. " You
are . . . hurt ? " she stammered,
" Only a bit scorched," he smiled.
" One can't save something precious
without paying the price.'
His eyes held hers told her the
truth.
There — was a fire," she said
slowly.
" You bet your life on that. Some
bla/'e, too I "
Romaine ?
" Not a hair ot her head touched.
My auto got me there in time, and I
gave them a lead to the fourth floor.
Pretty kid, that of yours, Diamond.
She kind of took to me. Didn't know
I was the kind of man who traded in
-." red things, you see."
Rupert . . . forgive me !
As he st' vped over her she opened
her arms and locked them round his
nei k.
The kiss thai followed was not
filmed
Human bliss is sacred, and even i he
camera knows v urn the blind
eve.
42
**
r-
>*
*W
m
Pictures and Picture Ooer
Pictu'regoer Parodies^
DECEMBER 1922
D8
Lr
ere are the Stars of the Old Brigade,
A Movie constellation.
Printed below are the names they've made,
Beloved by every nation.
They had great courage and daring, those,
Who toiled in the earl}' stages.
Tiny back rooms were their studios,
Little enough their wages.
Steadily in picture after picture,
Readily their roles they played.
Stars in the past, first, best and last,
The Stars of the Old Brigade.
Steadily story by story,
Steadily grade by grade,
Films better grew ; possibly through
The Stars of the Old Brigade.
Back in the days of the Long Ago,
Blanche Sweet and little Mary,
Norma and Alma and Earle and Flo,
Chaplin and Rome and Carey,
Gave of their best ere their names were known
Gave to the world their graces.
Famous and dear to our hearts they've grown ;
Well they have earned their places.
Though they'll be very much older
In December 'fifty-three,
On all the screens, still " full of beans,"
The same little bunch you'll see.
Getting rather bowed about the shoulder,
Gold and raven locks distinctly greyed —
Still going strong, reeling along,
The Stars of the Old Brigade.
From, top left : Norma Talmadge, Alice Joyce, Mary Pickford.
Earle Williams, Ethel Clayton, Alma Taylor, Florence Turner,
Mabel Normand, Charles Chaplin, Stewart Rome, Harry Carey,
and Blanche Sweet.
DECEMBER 1922
Picrvres and PicFureOoer
43
JackIe(pogan
Qlivei Twist
This film adaptation of
Charles Dickens' im-
mortal story is Jackie Coo-
gan's best picture. The
screen's greatest child-actor
is supported by a wonderful
cast that includes Lon
Chaney, George Seigman,
and Gladys Brockwell.
Don't miss this screen
masterpiece. It will
be showing shortly at
all the leading kine-
mas.
Q BU&t Tloticmo/ Jtetuxe
44
Picf-\JKes and PictureOver
DECEMBER 197/
Left : Jane Novak loads Sants's sleigh.
Above : Gloria Swanson selecting Xmas presents.
DECEMBER 1922
Pictures and Picf-urepoeK
45
^A re you Young and
longing for Success
and Happiness?
Then pay attention to
your looks.
POMEROY
SKIN
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2h aJ
ar
t<ft all Chemists
and Stores
cARMEn
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I H E WrCAf.S NO
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HERE'S an end to the messy
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strong chemicals. Get a 'Car-
men' Beauty Razor. Lather
under the arm and the curved,
protected blade removes the hair in a
few strokes.
SHAVING DORS NOT MAKE
THE HAIR GROW STRONGER.
If it did, no barber would be
able to shave a man of jo.
Don't buy any more expensive depi-
latories that bum, smell, and make a
mess. The " Carmen " is the • leanest
and handiest means of removing hair.
It is SAFE because the edge you are
not using is fuilv protected. You
cannot cut yourself — -it is in-possible.
Gold-p ttod istingof Rajor. Guaran-
teed Brush, "< armen Shaving Pov.
in crocodile nimh case, 30 -.
post tree.
nickel-
plated container ..ml brush. 13 9. post free.
R -.., .1 .... in .-., 7 9, post free t .ir.i
3 e lor 6. ii U.ot. -. ordered it tlie
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in all.
THE CARMEN RAZOR CO
3H. Stanley Home, Sherwood St-.
Piccadilly Circus, I on J. in. W.l.
Mat
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willsurely
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the charming film star, it here
teen wearing a LENBERT
Weatherproof Coat, which she
declarer it abtolutely rain-
proof, a beautiful garment,
and wonderful value at the
price.
is made of Union Gabardine, 60 per cent. Wool,
Guaranteed Cravenette Proofed, '"d also has a warm
rainproof check lining. Double protection against ram
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Winter months.
You will agree that it is an astounding bargain
at the following price -
In-Mole, Fawn, or Navy -
Single-Breasted
Double- Breasted
Postage, I/, extra,
A Serviceable Coat for F.vervday
Wear, made of Rainproof (iab.,
with check lining, same model as
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Postage, I/- extra.
ALL SIZES op to SO in. bark length from neck to net
42-
5 - extra.
32 6
We guarantee your satisfaction, for if you are not com-
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Send your remittance bj heque, Mom y Order,
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WISE MAIL ORDER (Dept. P.C.I),
46-47, Bow Lane, Cheapside, London, E.C. 4.
46
Pict\jKes and P/cturepoer
DECEMBER 1922
DEC
f'\^LT ''.
Alice
Lake.
A CHRISTMAS SONNET.
By Gareth Hughes.
When I was asked to write my friends
a line r
Expressing my goodwill for Christmas
season,
I could not think of any valid reason
Why I should not express these
thoughts of mine
In sonnet style — a style I love in
reading.
And so I tried the poet's measure,
heeding
The hard restrictions of a form divine.
I tried, but, hampered by the measured
beat,
I could not find the words I wished to
say,
And finding them, I could not make
them rhyme ;
I could not turn out phrases fit and
neat.
My heart alone this coming holiday
Can tell the joys I wish them Christmas
time.
THE TIME AND PLACE.
By Bert Lytell.
When the Yule log's aflame and the
candles aglow,
And you're sheltered inside from the
gales and the snow,
And the sleigh bells are ringing, you
probably know
It's Christmas — up North.
When the table's piled up with full
tankards of beer
And the bottles are popping to aid the
good cheer
And when ale goes with cake in the
feast of the year ;
It's Christmas — in Europe.
When the sun i9 ablaze in a blue
cloudless sky
And the roses in bloom as if summer
were nigh
And the beakers of grape juice are
raised up on high ;
It's Christmas — in Hollywood,
Contributed by Famous Motion Picture Stars.
THE TOWN THAT HAS
CHRISTMAS NAME.
By Alice Lake.
Hollywood, of picture fame,
Really is a Christmas name ;
For the holly seems to be
Everything that's Christmassy.
Red the berry, round and bright,
Symbol of the* day's delight ;
Green the leaf upon the tree,
Sign of youthful gaiety.
Hollywood, of screen renown,
Is a Christmas-christened town;
Alice Terry.
And, as seems both just and fit,
Hollywood has done its bit
Toward the spread of Christmas cheer
By the pictures of the year,
Taking place of masques and plays
To conform with modern ways.
Now, as Christmas-time is nigh
Comes the hope that maybe I
Through my r61es upon the screen
May reach many friends unseen ;
Add some bit, in picture play.
To the joy of Christmas Day.
THE NEW MAGIC LANTERN.
By Alice Terry.
In my Santa Claus days when St.
Nicholas would call
Bringing dollies and candies and
trumpets to blow ;
All my gifts gave me joy, but the best
of them all
Was the magic lantern show.
When I grew and was brought to the
pantomime —
For " Aladdin " and " Bluebeard "
were then all the go ;
They were better by far every Christ-
mas time
Than the magic lantern show.
But the pantomime's ended, the lan-
tern show too ;
For the kids of to-day seem to find
them too slow.
If you want to spread joy, there's just
one thing to do —
Try the motion picture show.
At this Christmas I hope, then, as I
play my part,
I will bring to my friends just a
bit of the glow
That I felt as a child when the joy
of my heart
Was the magic lantern show.
Gareth
Hughes.
DECEMBER 1922
ricrvres ana K/crurei/uer
4/
The Grainger-Davidson production, which is
released this month, is a typically British
story told in a " different " fashion. The i<)2z
Cup Final (Huddersfield v. Preston North End)
and the Derby play prominent roles in this All-
British Sporting Drama. When " Will Blunt "
(John Stuart) bet ^iooo to /io that Captain
Cuttle would win the Derby, and Huddersfield
the Cup, he gave the film its title and himself
an exciting time. Love and jealousy in a
typical English town and a desperate fiKht
on a barge ensue before he wins his bet and
the hand of " Eileen Grimshaw " (Lilian
Douglas). Pathos and humour are not lack-
ing, and several thousands of the general public
will see themselves on the screen, for the sport-
ing scenes were taken at the actual events,
and the photography is remarkably clear.
Besides a first-rate view of the " game,
the Cup Final scenes give a perfect demon-
stration of its technique, and the famous
penalty goal is shown, as seen from
behind the net. Many views of the
course at Epsom are shown from
a variety of new angles ; and no
• sport-lover should miss this enter-
taining production.
The hero loses a big contract for
his father's firm by leaving his duty
to go to a football match — some-
thing more than one of us has done
in his time, though not always with
such disastrous results. For Will's
dad turns him out into the world with
nothing but a ^10 note.
Ask the Manager of your favourite
kinema when he is showing it, and
take a note of the date. You'll enjoy
every foot of it.
48
Picf-\JK2S and PicF\JKe$ver
DECEMBER 1922
A woman's hair, it is said, is her
/ crowning glory ; but the
/ studio arc lamps, on occa-
t^ sion, are no respecters of
■ persons where tonsorial beauty
I is concerned. 'The most
% ^ attractive tresses, when
^k flooded with light by the
powerful lamps of filmdom,
times treated badly by the
suiters
are at
cameras.
especially
F31on.de beauty
in this respect.
So skilfully created wigs have
sprung into being in the studios,
which frame pretty faces with the
effectiveness of natural curls and
bewitching waxes. porothy Gish
always appears before the cameras in
a perfectly coifhired wig ; whilst other
stars adopt this form of camouflage as
a means of adding additional realism
to characters which they are por-
traying.
The familiar beauties of the screen
become intriguing personalities when
they flicker across the silver sheet with
their customary curls disguised with a
wig. For, although one recognises the
characteristic features and personalities
ol veil-known favourites, there is the
suggestion that one is gazing at old
friends " as through a glass darkly."
Mae Murray, converted into a las
cinating brunette with the aid of the
mm9lT who have changed
their lochs in »
productions. From top :
Agnes .■Ivies, Kalherine
Mac Donald, Elsie Ferguson,
liillic Burke, Mac Murray,
and Marion Danes.
dark wig which she wore
in Fascination, presented
an unfamiliar spectacle,
until the end of the reel,
when she swept it from her head ami
revealed her own golden tresses.
The critics have never yet beensoun
gallant as to suggest that certain screen
Stars^ appear more becoming in wigs
than as their natural sel\es but there
is ample evidence id' the fact that be
wigged beauties in many > ases |os<
nothing in charm.
DECEMBER 1922
Pictures and Picture $oer
49
i iimiiiiiniii ii
The Blouse material that
wears well and washes well.
LUVISCA" makes up readily and
retains its dainty appearance as long
as the material lasts. Its beautiful silky
sheen is absolutely permanent, and no
amount of washing will affect its brilliancy.
it
\l.i i EADING
DRAPERS sell
1. 1 VISC A" In
latest shades and
colourings, including
ni vv cord enacts.
t7 >H inches wide.
Striped Designs,
per
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Alto
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Blouses ready - to-
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Standard as to size,
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1 the BLUE NECK-
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jiiiiiiiiMiiiHiiiiiiiiiiiiimimri iuniiiiuii
ny difficulty
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please write to the
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J
XAiT A HT/^ W MANIUCTIRERV
▼ ▼ -F%> ML \— /* JL RECORD BARGAIN
OFFER TO PICTUREGOER READERS
IDEAL CHRISTMAS GIFTS
BUY DIRECT AND SAVE POUNDS.
No more beautiful and acceptable gift could hi- imagined
than one of these faniouN Watches. Thousand* have
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These goods are sold under the '* Picturegoer"
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" Your satisfaction or Cash refunded in full."
You can therefore order with perfect
confidence.
Cppp FINE ART CATALOGUE of Ladies' and
Gents' Watches sent on receipt of post card.
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50
Pict\jK2s and PictureOoer
DECEMBER 1922
ean
The wonderfully beneficial effects of LA-ROLA are
widely recognised by Film Beauties. When the com-
plexion is dull and lacking in tone through late hours,
exposure, and dust, LA-ROLA is the rejuvenator par excellence.
Refreshing and soothing, it is the perfect skin-tonic, and keeps
the skin soft, smooth, and unspoiled from the effects of continual
make-up. Bottles 1/6. Get a bottle now.
ASK FOR
IBEETHAMS 'W
ASK FOR
(as pre-war)
PALE COMPLEXIONS
may be greatly improved by just a touch of "LA-ROLA ROSE BLOOM." which gives a
perfectly natural tint to the cheeks. No one can tell it is artificial. It gives THE BEAUTY
SPOT! ~~~~ ' Boxes, 1/-
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TH1 SKIN
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VI
&*;
s
DECEMBER 1922
UwM
A Granger-Binger production
that is delighting picturegoers
all over the country.
Pictures ar\d PictureQuer
51
nt as
" /'
IT ell hath no fury like a man who
has got what he desi
the theme of this remarkable picture. It
is a story that runs the whole gamu. oi
human emotions, a masterly presentation
of the light and tragic elements of life.
It is the old, old, yet ever-new story of
the loves of Pierrot and Pierrette ; an
exquisite romance played upon human
heart-strings. The scenes that form a
background to the story range
Venice to Montmartre, and every incident
pulsates with real life interest. It is a
picture with a universal appeal.
Here, in impressionistic form, is a
description of the story that will whet
your appetite for the him :
" The joys of Carnival time in Venice.
Love and laughter everywhere. The pact
of a penniless artist, Mario Mari, and a
little Pierrette he meets at the Carnival.
A Masterpiece. The call of Paris. ' The
ladder by which a man climbs to fame
is often planted in a woman's heart.'
Carnival time again. The restlessness of
Pierrette. A journey to Paris. An offer
of money. Despondency. The Arts
Club Ball. The story of another's kisses.
The jealousy of Mario. A midnight visit.
Taunts, madness, and. . . ."
Many popular film favourites, i
Adelqui Millar, Evelyn Brent, Bert Darley
and Maudie Dunham appear in this great
Granger-Binger production, which is now
showing at the leading kinemas through-
out the country. Don't miss it.
Be!
Bohemian
Life.
Adelqui
Millar as
" Mario
Mail."
Cam
Pictures and Picture$oer
DECEMBER 1922
Scotland has always been proud
of Rob Roy and the glorious
country in which he performed his
daring exploits. Scotland will be
proud of the big Gaumont film, Rob
Roy, because it eulogises both her
hero and her scenery.
There never was a film more full
of vigorous and daring adventure or
which presented such a continuity of
choice and well-photographed High-
land scenery. From Ben Lomond to
the Trossachs, every feature of Rob
Roy's hunting ground is pictured.
Then there are old Highland cere-
monies, a gathering of the heads of
the clans at a great ball, a most
graphic depiction of the burning
down of the MacGregor homesteads,
and some wonderful panoramic views
of the big fight in which Kob Roy
wrested his native Inversnaid from
the Duke of Montrose.
By way of contrast to the strenuous
scenes of Rob's fighting existence, the
film gives a picturesque account of
how Rob won his bride — the beau-
tiful Helen Campbell — from under
the very nose of her wealth}' and
powerful admirer, the Duke ; glimpses
of the happy year which followed the
elopement ; the coming of their first-
born ; and then their ruin by treach-
ery ; ten years of struggle with Rob
hunted as an outlaw ; the famous
ruse (with the plaid in the river) by
which Rob made his most narrow-
escape ; the story of his " death " ;
the wonderfully impressive scenes of
his ." funeral " ; the pathos of the
Rob Roy Lament ; and, finally, Rob's
boldest surprise stroke against Mont-
rose and his return home in triumph
to Inversnaid.
Never was a more picturesque
narrative more picturesquely presented.
The picture is worthy of the setting,
and the setting worthy of the picture.
DECEMBER 1922
Pictures and Pict\jreOoer
53
Two really charming girls arc
the " Million Dollar Sisters,"
Norma and Constance Tal-
madge. Fresh from their
African travels, they chatted
to us at the Savoy Hotel.
" We thought of taking a
company over there to film
" The Garden of Allah,' '
said Norma ; " but there is noth-
ing there that we cannot find in
Los; and, after all, home's best."
Naturally, we asked her whether she
had seen any Sheiks in Arabia. Norma
laughed. " I saw some at Biskra," she
said, " and I wasn't impressed. Since
Rudolph Valentino made The Sheik, all
the girls I know dream about being
carried off into the desert by a wild
Sheik. Well, when' I've told them what
a Sheik is really like, I think they'll
give up the idea. Dirty ! Unkempt !
And, phew ! " Norma's look spoke
volumes. " And the Sheik isn't the big
noise either. There are thirteen or
fourteen of them under an Emir — at
least, that's the way of the province
I visited." You pronounce it " Shee-
ich," according to Norma, and a cold
in the head is useful for the " ich "
part.
Constance was surrounded by re-
porters and interviewers. We
saw a cunning ankle bracelet, and,
beneath a* kind of glorified jockey-cap
of black velvet, her famous smile.
I was very sea-sick," she told us. "I
hate sea voyages; but I liked seeing the
desert-and, altogether, travelling's
great fun." Constance is taller than
you would imagine her, and her hair
is light brown rather than golden.
Norma, on the contrary, is smaller than
she looks on the screen. We dubbed her
" Kverywoman " on the spot, for she
is child, girl, tomboy, and woman all
in a breath.
She has bright brown, curly, bobbed
hair, and the most expressive
eyes in Screenland. " 1 was over-
whelmed," she said, " by the welcome
those hundreds of girls gave us at
Waterloo. Of course, I know all about
curiosity (am I not a woman myself ?),
but I like to think there was just a
little affection, too, in that hour-and-a-
half wait for our train." On behalf of
British fans I hastened to assure her «
that there was quite a lot of affection,
for both Talmadges are dearly beloved
of British picturegoers. Norma
mothers Constance when "Peg" isn't
there ; but all are sincere, unaffected
folk, even as (I trust) you and I —
only more so.
Maciste, the Italian giant whose
feats of strength in Cabiria and
other productions won him a large
" fan " following, has just finished
another seven-reel picture. Although
his name was not very freely men-
tioned, Maciste had much to do with
Cabiria's popularity. In his new one,
Unconqnered, he has a good part, and
gives some wonderful displays of
strength. The story is about a mythical
kingdom, whose Prime Minister wishes
to be King. In his way stands a
beauteous Princess, who is beloved by
an Editor. Maciste is the friend of
both, and always rescues them from
the kidnappings, assassinations, auto-
mobile smashes, and other pleasant
little diversions staged by their arch-
enemy. On one occasion five men
climb a ladder in pursuit of Maciste's
friend, whereupon the giant picks up
the ladder with all five on it and de-
posits it in a lake. Some of these
scenes were " shot " in and around a
delightful old Italian castle. The film
will be shown in England next year.
Marshal Neilan, who directed
Penrod, declares that children
are easier to direct than grown-ups.
We'll say " Micky " knows, for he
steered forty of them through this
entertaining production. Of course, all
children are born mimics, and Neilan
is a great believer of acting the roles
himself first. Some interesting
" camera-men " who helped film Pen-
rod were Alma Taylor, who " shot
the " close-ups " of Wes Barry when
he borrows the janitor's overalls ; and
Cecil Hepworth, who " turned " for
the " close-ups " of Herman and
Yerman. Pretty Hazel Keener, who
has a minor role, is a Wes Barry fan
who used to correspond with her
54
A Good Figure Need Not be Slim,
But it Must Possess a Slender Ankle
A certain famous personage, so the story goes,
made away vvitli his wife "because she bad
thick ankles." A somewhat drastic remedy
for .esthetic sensibilities outraged !
But there is a very human touch in the story.
Thick ankles are so unsightly, and modern
fashions are not kind t" them. Those who
disfigurements, due to cm ess
whether of ankles, wrists,
"double chin" or general over-stoat- •
ness. need not despair,
HodioJ will quickly remove the trouble.
Kodiod is a simple and harmless cream for
external use and involves neither the use of
is drugs nor any spec ial diet.
SUPPLIED in £>/- and O/— JAR'S.
Full instructions with every pot. Stocked by
Selfridge, Harrods, Lewis and Burrows, Etc.
or post free direct from
RODIOD SALONS (Dept. PC.)
5, NEW BOND STREET. LONDON, W.I
Pictures and Picture Over
favourite. Letter, when she won a
thousand-dollar beauty contest, she
spent her prize on a visit to Holly
wood. A personal encounter with Wes
was followed by a test and an intro-
duction lo Marshal Neilan, who gave
her her first chance in F'enrod.
Emboldened by the American suc-
cess of When Knighthood Was in
Flower, three more romantic novels by
Charles Major have been bought by
Cosmopolitan. These are " Yolanda,"
' The Gentle Knight of Brandenburg,"
and " Touchstones of Fortune," and
are all more or less historical. Major's
" Dorothy Vernon of Haddon Hall " is
now Mary Pickford's property, and is
scheduled for her next production ; but
the title-role is not ideally suited to
her. Playgoers will remember it as
" Dorothy o' the Hall," in which
Julia Neilson and Fred Terry played
" Doll " and " Sir John Manners "
many hundreds of times. Hardy's
' Tess " is having its second filming,
for a Goldwyn contingent have been
over here, photographing scenery,
houses, rooms, dresses, furniture, etc.,
on the exact spots mentioned in the
novel. Blanche Sweet is the rumoured
selection for the heroine's role. Trilby,
too, is one of the New Year's coming
wonders, with Guy Bates Post as
" Svengali." Can anyone give offhand
the principals in the 1915 version ?
Everyone remembers the British effort,
with Tree in his original role, made by
the London Co. Universal, too, has
haditseyeon this story for some time.
The {Beauty (Blush !
A
a lie
skm is the re-
vardfor using Aphros.il,
(■underfill new white fluid
very fur beautifying the
othy Ward, the
ius and beautiful '
cdy Star, writes : " It
amazing t" me togel such
itltiful velvet tone on tlic
from the first application
of Aplimsal.'
£50 Post tree, from
THE APHROSAL CO.
Oakley House
Bloomsbnry Street,
London. W.C.I.
T X /hen the American Motion Picture
V V Advertisers gave a luncheon for
Will Rogers, they fully expected some
sly " digs " at themselves by this
witty personage. Sure enough, Will
led oft his after-luncheon speech by
declaring that the Advertisers were
the Mother Lodge of the Liars of the
World. " Every lime Griffith makes
a picture," quoth Will, a little later,
" it puts the industry forward five
years. Or, at least, folks say so.
That's why 1 hasten to make one
every time he does, so as to keep
things level."
IT* dnumd Colliding, the world-famous
-j scenarist, whose screen sua esses
include Fascination, Peacock Alley,
Tol'able David, and Broadway Rose,
is visiting England this month. Collid-
ing, who is, of course, an Englishman,
has just completed Fury, in which
Richard Barthelmess and Dorothy
Gish are featured. " Fury " will be
published in book form in this country
next year.
Lionel Barrymore succeeds Bert
Lytell in 1 he Face in the Fog, the
third " Boston Blackie " story to be
filmed. He is splendid as the crook-
hero, and has an all-star east, with
Lowell Sherman and Gustave von
Seyfertitz as the villains; also
Mary Maclaren, Seena Owen, Louis
DECEMBER 1922
Wolheim and Macey llarlam. Lionel
and Lowell participate in two tie
niendous fights, anil if Cosmopolitan
(whose feature this is) continue in
their new policy of quick release, you
may see The Face in the Fog early in
the New Year.
Cecil Humphreys is in Australia,
on the stage there. He sends
Christmas Greetings to all his British
fan friends and also an apology.
Here's his letter. "As I shall be
here for some considerable time, I
cannot possibly attend to the numerous
requests for photos, etc., I have
received. So I want, through THE
PICTUREGOER, to send my apolo-
gies, and to assure everybody that my
first task on my return to England
and the picture world will be to make
up the arrears."
Almost every picturegoer has a kid
sister or brother, and now that
Christmas is in the air, the question
of gifts is well to the fore. Messrs.
Dean's, the famous Rag Book folk,
have a delightful selection of dolls and
books this year. Besides "Jackie
Coogan," as " The Kid " and " Peck's
Bad Boy," " Evripose " dolls, daintily
dressed, can be obtained in all sizes
and prices. Stuffed animals, with
and without wheels, are very accept-
able to younger kiddies, and we were
seriously inclined to adopt " Jacko,"
an appealingly "homely" monkey,
as the office mascot. " Jacko " is
a brown gentleman, with " Evripose "
limbs and tail : he stands, sits, and
balances in all manner of ways. The
dolls are practically unbreakable, and
their faces, especially that of a plump
boy-doll dressed in knitted silk, wear
a beaming look of contentment that
is sure to be reflected upon the
countenances of the lucky little re-
cipients.
Patsy Ruth Milter, who appears in
Where is my Wandering />'.>v Fo-Nighi?'
DECEMBER 1922
Pictures ar\d PictureOuef
55
uarnous
S«//x
*o*,
if:
**£rt
r°ff.
ectucies
h
are well qualified to judge the merits of " Eastern Foam."
ITS action \n softening, whitening and
toning up " the skin is most marked. Just a
little Foam is applied night and morning, and
also after washing, gently rubbing until the
Foam is absorbed. Harsh, dry, or shiny skin,
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"Eastern Foam" is
" Eastern Foam " Vanishing Cream is par
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sold in large pots,
price 1/4, by all Chemists and Stores.
Apply for Free Beauty Gift to-day to : THE BRITISH DRUG HOUSES, LTD , Dept. J.D.B., 16-30. Graham Street, London. N.!.
EA5TERN FOAM
VANISHING CREAM
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56
Pict\JK25 and Pict\jre$uer
DECEMBER 1922
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he would be more concerned m it* tanttation "
than anything et*e.
; U A DDIi^ maU*» W.C. Bowli
ft HAKr IC • «potl«»» pnld«_- /(
; Pu.iIim th» tfrwin from houM to main. 0«t •
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II i s/cf Barry, Marjorie Daw, and John Harron in " Penrod."
After Your Own Heart (/-'ar ; Dec. 8).
Tom Mix in an up-to-the-minute
WCstcni in which the cowboys use
autos and aeroplanes as well as their
usual mounts. Ora Carewe, George
Hernandez, E. ('. Robinson, and Bill
Ward support. Excellent entertain-
mcnl .
All Souls Eve {Gaumont-Realart ;
Dec. n).
Mary Miles Minter restored to us
in a dual-rule fantastic story about
spirits, in which double exposure
covers a multitude of sins. Cast in-
cludes Jack Holt, Carmen Phillips,
Clarence Geldart, and Mickey Moore.
For sentiment-lovers only.
Anna from Nowhere {General ; Dec. 4).
An appealing Scandinavian romance
starring Astrid Nielson, Lars Ivinde,
and Elinar 1 veils. Good entertain-
ment .
An Unwilling Hero {Goldwyn ; Dec. 11).
An excellent film version of O. Hen-
ry's " Whistling Dick's Christmas
Stocking," with Will Rogers as the
work shv tramp. In the cast are
Molly Malone, John Bowers, 1 >arrel
loss, Jack Curtisand Edward Kimball.
I )on't miss tins one.
Bladys of the Stewpony {General ;
lit issue ; Dee i i).
Historical costume-drama adapted
from S. Baring -Gould's well-known
story. Characterisation, acting, set
lilies, photography and romantic old
tunc atmosphere excellent.
At the End of the World (Paramount;
Dee. 4).
Wrecks, human and otherwise, lavish
Eastern settings, and wonderfully good
acting by Betty Compson, Milton
Sills, Mitchell Lewis, ( .in-.mii Fer-
guson, and Spottiswoode Vitken. A
good drama.
The Broken Web (Pathe ; Dec. 18).
A Chinese star in a rather thin,
long-drawn-out story. Cast includes
Tsen Mai, Lai Mon Kin, Neil Moran,
Robert Elliott, Jane Adler, and Bessie
Marven. Fair entertainment.
Bring Him In (Vtiagraph ; Dec. 4).
Earle Williams in a thrilling Cana-
dian Mounted Police story, supported
by Iritzi Ridgeway, Bruce Gordon,
Paul Weigel and Ernest Van Pelt.
Good entertainment.
Bought and Paid For {Paramount >
Dec. 18).
A William de Mille production.
Domestic drama all about a telephone
girl who married a wealthy husband,
and what came of it. Agnes Ayres,
Jack Holt, Walter Hiers, Leah Wyart,
and George Kuwa. Thrill - chasers,
keep away.
Buried Treasure {Paramount ; Dec. 25).
A magnificently produced mixture
of mystery, love, adventure and re-
incarnation, starring Marion Davies,
Norman Kerry, Anders Randolf, Earl
Sclienk, Edith Shayne. John Charles
and Thomas Fihdlay also appear.
Good entertainment.
Cinderella of the Hills (Fox ; Dec. 25).
A good mystery drama of the Ozark
Mountains, with an unusual story,
fine acting, and a surprise ending.
Barbara Bedford stars, and Carl
Miller, Cecil Van Auber, Tom McGuire,
and Barbara La Marr support.
The Conquest of Canaan (Paramount ;
Dec. 25).
Tom Meighan in a good, though
too long-drawn-out story of a lazy
lawyer's reformation. Dons Kenyon
opposite ; also Diana Allen, Alice
Fleming, and Charles Abbe.
[Coiilinutd on Pagt 5S.
DECEMBER 1922
Pictures and P/cfureOoer
57
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This photograph tells you better than words why
Nestle i new permanent hair-wave was the out-
standing success at the Hairdressing Exhibition
last month. Ladies watched, fascinated, how the
wonderful Nestle inventions transform straight hair
of every shade and texture into the gloriously
becoming waves and curls pictured above. They
contrasted the delicious softness and matchless
beauty of the Nestle wave with the hard unbe-
coming " frizz " so often obtained by imitators.
To appreciate all the advantages of the Nestle
hair-wave, vou must come to Nestles yourself
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is that Nestle alone reproduces in straight hair
the actual characteristic! of naturally wavy hair.
Nestle's is the only hair-wave so faultlessly beau-
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58
I Love
to
Dance
but—
OH! MY FEET!
Try this and forget all your aches,
pains, strains, corns, callouses, or
other foot troubles.
You have only to dissolve a small hand-
ful m1 Reudel Bath Saltrates in a hot foot-
bath and rest your feet in this for a few
minutes. '1'hcn. Presto ! Away go all your
foot afflictions, almost as if by magic.
Phyllis Monkman says saltrated water is
wonderful. The mid natal and oxygenated
foot-bath prepared t>y adding Reudel Hath
Saltrates lias a truly marvellous curative
action upon all kinds of foot troubles, im-
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worst forms Every sensation of burning.
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lous, or other foot torture will soon be only
an unpleasant memory of the past. Merely
cutting the top off a corn with a razor, or
burning it off with causti< liquids, plasters,
etc., is about as logical as cutting the top
off an aching tooth, and is simply a \.
of time. Also it hurts, and is dangerous.
Millions of packets of Reudel Bath
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taining a signed guarantee to return money
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i! best
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Pictures at\d Pict\iKe$uer
PICTUREGOER'S GUIDE.
(Continued from Pn£c j6.)
Desert Blossoms (Fox ; Dec. n).
William Russell and Helen Ferguson
in an interesting and fast-moving tale
of engineering and adventure. Good
entertainment.
The Fast Mail (Fox ; Dec. n).
Modern melodrama consisting of
races and chases, a fire, and the efforts
ol a gang to got the better of Charles
(erstwhile Buck) Jones. Eileen Percy,
Adolph Menjou, James Mason, and
Harry Dunkinson assist. Will please
Buck Jones fans.
Fascination (Jury ; Dec. 7).
Elaborate, gorgeous, and at times
artistic. Mae Murray as a headstrong
Spanish-American flapper and her one
adventurous night. Robert Frazer,
Helen Ware, Courtenay Foote, Creigh-
ton Hale and Vincent Coleman Ex-
cellent entertainment and subtitling.
The Good Provider [Paramount ;
Dec. 0-7).
Fannie Hurst wrote it ; Frank
Borzagc directed and Vera Gordon,
Dore Davidson, Miriam Battista, Vi-
viennc Osborne, Wm. Collier jun.,
John Rocke, Mary Devine, Ora Jones,
Edward Phillips, and Margaret Severn
play it. Another Humoresque, in
which Father comes into his own at
last. Excellent entertainment.
ORWICKS
BAKING
POWDER
Go-Get-'Em Garringer (Globe ; Dec. 10).
Helen Chadwick, Franklin Farnum,
and Joseph Rickson in a thrill-for-
thrill's - sake feature. An average
Westerner.
The Great Adventure (Moss Empires ;
Dec. 4).
An excellent screen version of
Arnold Bennett's play, with Eioncl
Barrymore as the artist who " dies,"
and Doris Rankin, Ivo Dawson, Thomas
Braidon, Katherine Stewart, Arthur
Rankin and Paul Kelly supporting.
The Great Moment (Paramount ;
Dec. 11).
Gloria Clyn and glaring absurdities.
Highly-coloured society drama; also
Milton Sills, Alec. B, Francis, Raymond
Brathwayt, Julia have, and Clarence
Geldart. Will please romance-lovers.
Hail the Woman (Pathi ; Dec. 4).
Good but sentimental melodrama.
Good characterisation and an all-
star east, with Florence Vidor, Lloyd
Hughes, Theodore Roberts, Tully
Marshall, Madge Bellamy, Charles
Meredith, and Muriel Francis Dana.
Feminine fans will revel in it.
The Heart of an Acrobat (W'alturdaw ;
Dec. 4).
Sansonia " in a circus stunt story
DECEMBER 1922
with some unintentionally humorous
sul) titles, and thrills and gymnastics
three a penny. Only unsophisticated
fans will enjoy this one.
The Highest Bidder (Pa the' ; Dec. 4).
1 ,ove versus millions. Society drama,
starring Madge Kennedy, supported by
Vernon Steele, Ellen Cassidy, Lionel
Atwill, and Zelda Lears,
" If Only " Jim (F.B.O.).
Harry Carey, more human than
ever, in an entertaining though
commonplace adaptation of " Bruv-
ver Jims Baby," by P. V. Mighels.
Carol Hollow ay, Kuth Royce, Duke
Lee, Roy Coulson, George E. Bunny,
Thomas Smith, and " Pat " lend
capable assistance. Not for the
critical.
Love, Honour and Behave (Moss
Umpires : I >, c. 25).
Charles Murray, lord Sterling, Phyl-
lis Haver, Marie Prevost, and George
O'Hara in an entertaining Mack
Sennett medley. Good comedy fare.
The Match-Breaker (Jury ; Dec. 18).
Viola Dana as an anti-vamp in a
bright comedy-drama. Jack Perrin
opposite ; also Wedgewood Nowell,
Julia Calhoun, and Fdward Jobson.
The Man and the Doll (Gaumont ;
Dec. 11).
A Trench production all about one
foolish wife. Cast includes M. Tallier,
Irene Wells, M. Lorette, M. Leclerc,
and Mile. Suzanne Delve. Fair en-
tertainment.
The Man from Lost River (Goldwyn ;
Dec. 11).
House Peters in a lumber-camp
story with rather stereotyped charac-
ters. Good acting and settings, but
only fair entertainment.
Miss Hobbs (Gaumont- Realart).
Wanda Hawley, Walter Hiers, Helen
Jerome Eddy, Jack Mulhall, and
Harrison lord in a screen version of
Jerome K. Jerome's light comedy.
Slight but bright. Donald Crisp
directed.
Nobody's Daughter (Anchor ; Dec. 11).
Spanish drama, inconsistent at
times, but made on the spot, and
starring Suzanne Talba. Poor enter-
tainment.
Penrod (First National ; Dec. 18).
N oung America as typified in Booth
Tarkington's famous magazine series.
Contains the cream ol these ; also Wes
Barry,. Marjorie Daw, Baby Peggy,
Sunshine Sammy, Gordon Griffith,
Johnny Harron, Lena Basket te, <'Iara
1 lorton, and Noah Beeryjun. Excellent
Christinas fare for children of all ages.
[Continued on Pagt. 60.
I
"QUALITY
AND
FLAVOUR*
DOURNYILLECocoa
II seethe name "{jadbury
MADE UNDER
IDEAL
Conditions
ON EVERY PIECE OP CHOCOLATE
DECEMBER 1922
Pictures and Picture Over
59
w\ m/
Gaumont's great screen drama that portrays
the Romance of Lord Byron.
More than a fashion ; it is a mad-
ness." That is how John
Murray, publisher of most of Lord
Byron's works, described the craze for A
the poet. Lord Byron was the most M
romantic figure of his age — and probabh m
the most romantic figure in British his- "
tory. As he said himself, he awoke one
morning and found himself famous. All
ionable London fell at his feet and the
women pursued him in shoals.
The mills of God ground slowly, yet
inexorably for Byron ; as he had ruined
women, so women ruined him. One of his
most lasting liaisons such as it was — was
with Lady Caroline Lamb.
In due course Byron tossed her aside, and,
mad with jealousy, she set to work to en-
compass his downfall. It was to get rid of
Caroline Lamb and the hosts of other im-
portuning " fashionable women," that Byron
married Isabella Milbanke, a paragon of
virtue who had remained quite indifferent
to him until he succeeded in persuading her
that she was the only woman who could save
him from himself. After the marriage, it was
soon apparent that he did not want to lx>
saved. The conflicting temperaments of this
passionate genius and his wife soon brought
about a separation, and Caroline Lamb's
intrigues completed his downfall.
It is this story of Byron's misadventures
with these two women which is told in the
" British Screencraft " Production, A Prince
of Lovers — a drama, romantic and pathetic,
drawn from real life. It is probably the
greatest dramatic photoplay yet produced
in England, and technically the film, both
in staging and photography, is not merely
an exceptional British production, but also
one which will rank with the world's best.
>•€
&
c
K5>
ih
r*P
it
%,
V~ .-*'
•*$*
* <r f
A
f . v^
^
60
Pictures and Picf-urepoer
DECEMBER 1922
A WOMAN'S AGE
IS ESTIMATED NOT BY
HER BIRTHDAYS BUT
HER BEAUTY!
Helena Rubinstein
WORLD CELEBRATED
BEAUTY CUI.TURIST
who, in a quarter of a century devoted
to scientific investigation and professional
practice, has established Beauty Culture
as a universally recognised science, makes
the skin fulfil the functions Nature
intends, but so often fails to do.
DISCOLOURED FACES, THROATS, AND ARMS sain
., soft whin- loveliness when VALAZE BLEACHING
CREAM is used. Specimen )ar 2/9
WHEN FACING WIND AND WEATHER let VALAZE
BALM ROSE both protect and beautify your skin. It
is a certain preventive of discoloration. Price 3/6
REGAIN AND PRESERVE PERFECT CONTOUR of
and throat by using VALAZE ROMAN JELLY.
It ti^ht'-ns relaxing skin and eradicates fine creases and
lines round eyes and mouth. Specimen jar 2/9
TO CLEAR AND MAKE LOVELY THE COMPLEXION,
VALAZE BEAUTIFYING SKIN-FOOD brings per-
fection to every type of skin, ensuring a velvety soft-
ness, perfect purity, and unfailingly removes dis-
coloration, freckles, and other blemishes.
Price of Specimen jar 3/-
POWDER MARKS ON DARK CLOTHES look
abominable and cause embarrassment. VALAZE
WHITEN ER, used for the throat, arms or hands,
imparts a clear whiteness which it'ill not rub off.
Price 3/6. Specimen jar 2/3
THE IMPORTANCE OF CORRECT SKIN CLEANSING.
Frequent washing spells ruin to the skin in winter.
NOVENA CERATE, cleansing and massage cream,
leaves the skin delightfully frtsh, soft, .111 I soothed.
Price 2/6
Write for brochure " Secrete of Beauty "
and, particular* of the wonderful treatment*
given at the " Valaze " Salon.
Special Half - Guinea Lesson Treatment imparts
beauty and home treatment instruction.
24. GRAFTON STREET, LONDON, W.I.
\OJf Bond Street. Facing Hay Hill.} 'Phone: Maytair /6//.
I'tltIS: I :i; Rut itu I'Mibuiii-it Nt. II r
NKW YOKK: 18 We.t 67th Street.
The Great Remedy for Headache
and Neuralgia.
Tip W TWO ZUX POWDERS free.
* XWXsXi Mention tl.i^ Magazine and
rid. stamped iddressecl envelope.
Sold l.y Chcmisti and Stores in i •. 6d. and
js. boxe-. 01 Post Free, it thesi
Iron, The ZOX Co.. 11, HATTON
GARDEN, LONDON, E.C.I.
*or HEADACHES*
MgURALClA
PICTUREGOER'S GUIDE.
(Continued from Page 5<S)
Passing Thru (Paramount; Dec. 21).
A small-town, story of a boy who
was too fond of carrying other people's
burdens. Douglas MacLean and Madge
Bellamy star. A pleasing semi-farcical
drama. -
The Plaything of Broadway (Gaumont-
Realart ; Dec. 18).
A romantic story of New York night
life starring lovely Justine Johnstone
as the misunderstood dancing heroine.
Also Crauford Kent, Macey llarlam,
George Cowl, Lucy Parker, and Claude
Cooper. Excellent entertainment.
Quality Plays {Walturdaw ; Dec. 4
and 18).
" Fallen Leaves," a Christmas story
with a tramp hero and an O. Henry
touch ; read it on page 19 of this issue
(Dec. 4) ; and played by Chris Walker,
Jeff Barlow, Jack East, and Mary
Price. " The Thief " (Dec. 18), con-
cerns an elopement and an amusing
hoax. Read this in the November
Twenty-Story Magazine, price one shil-
ling. Both excellent one-reelers.
Rip Van Winkle {W ardour ; Dec. 18).
An artistic and delightful screen
version of Washington Irving's classic,
with Thomas Jefferson, Francis Car-
penter, Milla Davenport, Pietro Gosso,
Daisy Robinson, Gertrude Messinger,
Max Asher, and Mary Anderson in the
cast. Excellent entertainment.
The Road to London {Phillips ; Dec. 4),
Bryant Washburn, Joan Morgan,
Saba Raleigh, Eille McLaughlin,
George Foley, and the Rev. Dr.
Batchelor in a romantic farce-comedy
made this side without a single studio
set Don't miss this one.
Saturday Night ( Para-
mount ; Dec. 4).
Cecil B. De Mille at
his wildest. A spectacu-
lar production contain-
ing two matrimonial
problems de luxe. Lea-
trice Joy, Conrad Nagel,
Edith Roberts, Theo-
dore Roberts, James
Neill, Winter Hall,
Edythe Chapman, Syl-
via Ashton. Excellent
entertainment.
The Scarlet Lady {But-
cher ; Dec. 11).
Violet Hopson in a
well - produced racing
story with a strong love
theme. Lewis Willough-
by, Arthur Walcott,
Cameron Carr, Adeline
Hayden Coffin, and
Gertrude Sterrol sup-
port. Good entertain-
ment.
Steel Heart (Vitagraph ;
Dec. 11).
Super - serial in six
reels, with William Dun-
can and Edith Johnson
in their usual surround-
ings. Also Jack Curtis, Walter Rodgers,
Charles Dudley, and Ardela Malino.
< lood entertainment.
Shadows of the Sea (Walturdaw-
Selznick).
Tropical in location, and vivid
character studies. The adventures of
Conway Tearle as a gun-running sea-
captain, aided and abetted by Doris
Kenyon, (ran ford Kent, Arthur Hous-
man, Frankie Mann, and J. Harney
Sherry. Good entertainment.
The Spenders (W ardour ; Dec. 22).
An improbable but entertaining
story of frame-ups and frenzied finance
excellently interpreted by an all-star
cast including Jos. J. Dowling (the
" Miracle Man "), Robert McKim,
Claire Adams, Niles Welch, Otto
Lederer, Tom Ricketts, and Betty
Bruce.
The Spurs of Sybil {Hayward ; Dec. 4).
Alice Brady and John Bowers in a
good mystery story about a society girl
who has to earn her own living in New
York for a year. Pleasant entertain-
ment.
Ttiere Are No Villains {Jury ; Dec. 7).
There is one, played by Edward
Cecil. Viola Dana stars as a lady
detective who allows romance to over-
ride duty. Gaston Glass, De Witt
Jennings, Edward Cecil, and Jack
Cosgrave support. Good entertain-
ment.
The Young Diana {Paramount ; Dec. 4).
A very free screen adaptation of
Marie Corelli's fantastic novel, with
Marion Davies as the old-young (here
a young-old) heroine, supported by
Maclyn Arbuckle, Forrest Stanley,
Gypsy O'Brien, and Pedro de Cordoba.
Spectacular entertainment.
Wyndham Standing and Marguerite Marsh
in " The Lion's Mouse."
DECEMBER 1922
Pictures and PictureOuer
61
The New Natural
^Permanent Wave.
This is an actual photograph sh> »ing
the new natural Permanent Wave
which caused such a sensation at the
recent Hairdressing Exhibition.
Notice the wonderfully natural fall of the waves, t£e life and
radiance of the hair, the entire absence of any mechanical " set" ap-
pearance or ugly fri/z. These remarkable results .11 e solely due to
some new inventions of M. Eugene, which secure a lasting wave of
absolutely natural appearance without risk of any injury to the hair
or discomfort in treatment.
The new method, which is entirely different to all previous and
existing ones, is fully guaranteed to successfully wave any colour or
texture of hair. Waves are quite permanent under any con-
ditions, only the new growth needing treatment after six months or
so, and the hair can he dressed in any fashion that is desired.
A beautiful folio oi portraits depicting six different ways of dress-
ing-Permanently Waved 1 full details of the new process,
will be sent post free on mentioning '* Picturegocr." Or M. Eugene
will ads is,- personally or through the post on any question concern-
ing hair, if sample hair is sent.
Photo, by
Bassano.
Perfectors of Permanent Waxing,
23, GRAFTON ST., BOND ST., LONDON.
/•'tone: Gerrard 4bc~.
MANCHESTER. PARIS.
NEW YORK.
W.l
This i
h.nr
i nd for
prices.
62
Pier
\jms and Picf\jre$uer
DECEMBER 1922
n
■ -,
'•/
X.
HECOLTENE
I— y Th# bouid hair remover
it a famous dipilitory that every
Cinema actreu uiei. The jafety
and speed with which it does its
work is the reason of its tremen-
dous popularity.
One application removes all un-
wanted hair and leaves the skin
perfectly smooth and entirely un-
harmed. A large-sized
bottle (lasting many
months)
3/9
speedily and effectively overcomes
the odour of perspiration. Does
not interfere with the functions
and has many intimate uses which
ladies especially will appreciate.
It is a dainty cream,
non-perfumed and costs 0/^2
per jar «£/ O
All Robartes preparations are
obtainable Irom stores, chemists,
and perfumers throughout England.
If any difficulty in obtaining, a
first supply will be sent post free
on receipt of remittance.
SEND FOR GRATIS COPY
OF THE DINKIE BRO-
CHURE, SENT POST FREE
ON APPLICATION. EVERY
SMART GIRL SHOULD
HA VE ONE.
w.
■'/■■/'
1
w
A
W.
A Sensible
Christmas Present.
No more acceptable gift for any lady could be
imagined than one— or both — of these handsome
heavily nickel-plated, highly efficient Electric
Irons. No wall-plug is necessary, as they work
from an ordinary lamp socket, socket and length
of flexible wire being included, llu- smaller iron
in its neat carrying case is adaptable for any
voltage from no to 220 v. Note the Amazingly
Low Prices, and send yom ordei to-day.
Satisfaction Guaranteed — or Money Hack.
Enclose remittance (state voltage for j-lh. Iran),
address to : —
G. H. HOWARD & CO.,
4, HIGH STREET.
Shaftesbury Avenue. London, W.C.2.
In Case
Post Free
New Reader (Ipswich). — (i) Try
Allied Artists, 86-88, Wardour Street,
W.i. (2) I think you might get those
signed photos if you write nicely. Send
you letters c.o. Picturegoer. Apolo-
gies returned unused. Your requests
are quite modest compared with some !
Ali (Horncastle). — Human Ency-
clopaedias don't mind anything. Ali,
where are the Forty ? (1) Cast of The
Count of Monte Cristo : " Edmond
Dantes," Leon Mathot ; " Mercedes,"
Nelly Gormon ; " Fernand Mondego,"
M. Garat ; " Danglars," M. Colas ;
" Villefort," Albert Mayer ; " Cade-
rousse," M. Dallieu. (2) The addresses
you want are : Marguerite Courtot,
19, Hudson Place, Weehawken, N.J.;
and George B. Seitz, 2, West 47th
Street, N.Y.C. (3) 'Peggy Carlisle and
Basil Gill are both British. (4) Cast of
The Rocks of Valpre : " Bertrand de
Montville," Cowley Wright; "Chris-
tine Wyndham," Peggy Carlisle ;
"Trevor Mordaunt," Basil Gill;
"Chris's Aunt," Winifred Sadler;
" Captain Rudolphe," Humberston
Wright ; " Rupert Wyndham," H. H.
Vincent; "Noel Wyndham," Barry
Barnard ; " Jack Forrest," William
Saville. (5) Enid Markey's address is
859, Seventh Avenue, N.Y.C. If Enid's
married, she keeps it dark.
Peggy (Fulham). — Sorry to dis-
appoint you, but I'm afraid you're
wrong about Chaplin's birthday.
April 16, not 19, is correct. Charlie's
a feeble old man like me, so give him
the benefit of the three days. Alma
Taylor and Charlie both dance exceed-
ingly well. Glad you like Picturegoer.
F. B. (Highgate). — Your " everlast-
ing gratitude " has been duly earned.
Many thanks for your good wishes and
for my own special bouquet.
Betty (Cornwall).— (1) Phil Ford
has brown hair and eyes, and is 5 ft.
10 in. in height. Some of his films are
Cyclone Bliss, The Mystery Ship,
Shadows of the West, The Great Reward,
The Silent Mystery, and / Am the
Woman. Address : 1403, Vine Street,
Hollywood, California. He doesn't
state his age. There's only one of me,
Betty.
Wana Doro (Holland — (Don't
know if you're a " she" or a " he,"
Wana) owns to being " born in the
middle of the wilderness," and has a
liking for all foreign-made films except
Dutch ones. Perhaps the one explains
the other. (1) Two Chinese films
recently made are The Broken Web
and For the Freedom of the East, both
starring Tsen Mei. Japanese plays are :
Five Days to Live and Alien Souls,
featuring Sessue Hayakawa and Tsuro
Aoki; and The Jaguar's Claw, featuring
Sessue Hayakawa. No space for more.
An all-Indian film is entitled Dhruva
Charitra. Italian films are Cabiria,
starring Maciste, Nero, and Theodora.
For the love of Pete, don't call me
Georgy !
C. H. W. (Bedford).— The weekly
instalment system, suggested in your
letter, doesn't appeal to me. (1) Cast
of The Son of Tarzan : " Jack," K. C.
Searle ; " Jack as a boy," Gordon
Griffith ; " Lord Greystoke," Dempsey
Tabbler ; " Lady Greystoke," Karla
Schramm ; " Little Meriem," May
Giraci ; " Meriem, grown up," Manilla
Martan ; " Ivan Paulvitch," Eugene
Burr ; " The Sheik," Frank Morrell ;
" Malbihn," Ray Thompson. Episodes:
The Call of the Jungle, Out of the Lion's
Jaws, The Girl of the Jungle, The
Sheik's Revenge, Pirate Prey, The
Killer's Mate, The Quest of the Killer,
The Coming of Tarzan, The Kiss of the
Beast, The Battle of the Apes, The Lure
of the World, The Jungle Girl's Peril,
Double Crossed, The Blazing Heart,
The Amazing Denouement. (2) Elmo
Lincoln doesn't take the part of
" Tarzan " in the above film, because
he was not under contract with the
company that made it. (3) Maciste is
still " going strong," and has appeared
in several Italian, films recently. He
had a prominent part in Cabiria.
(4) Sorry I can't give you a reason for
Mutt and Jeff leaving the screen. Why
not ask Budd Fisher ?
Talmadgite No. 2 (Wembley). — I
like the delicate shade of your note-
paper. (1) Sorry I can't give you casts
of those three films, but my memory
doesn't go back quite so far. (2)
Norma's mother is known as Margaret
or " Peg " Talmadge. Glad you think
Picturegoer -imply beautiful.''
Free list of postcards of film stars is
being posted to you.
W. J. A. (Johannesburg). — (1) Film
actresses don't generally specialise in
physical strength, but for courage
and daring, what about Pearl White ?
(2) A complete list of Pearl's films
would nearly fill this page, but here
are a few of her best -known ones : The
Exploits of Elaine, Pent I of the Army,
The Black Secret, The Perils of Pauline,
The Laughing Mask, and The Fatal
Ring. (3) Art plates, covers, and
smaller photos of Pearl have appeared
in several issues of Pictures and
Picturegoer. (4) Ruth Roland is a
powerful rival to the " peerless and
fearless " Pearl. Are the three kisses
at the bottom meant for me ?
Jennie (Portslade). — I'm afraid
your intentions are better than your
sense of rhythm. But keep on irying.
J. T. (Liverpool). — That "Fault"
has whiskers- I'm afraid it's a beaver
among Faults. Glad you liked the
bound volume of Pictures.
[Continued on Page fl,.
DECEMBER 1922
Pictures and Ricl-ureQuer
63
Yoxi can add \o
your income by
DRAWING
FASHIONS
"Kn
l-'f
Our pupils are now doing so.
Many of them began by earning
money after the first few lessons.
One pupil writes: "I have more work
than I can comfortably cope with. My
drawings are appearing regularly in
' Vogue,' and several other English,
French and American journals ... 1
am convinced that, but lor your untiring patience and extremely
lucid instructions, I should never have achieved the success 1
am enjoying at present."
A young lady pupil, who is only 18 years of age, sold 30 drawings,
through our introduction, before she had finished the Course; whilst
another, after only five lessons, is selling her drawings.
Can you Draw?
There is enormous scope in Fashion Drawing. It does not require years of
hard study such as other branches of art before you realise any compensation.
Providing you have the correct training, you can soon learn in your spare
time at home to draw fashions that are in urgent demand.
We give instruction by post in this lucrative art work and assist students
to sell their drawings as soon as they are proficient. Our supeib illustrated
Booklet, "The Art of Drawing Charming Women," which gives full
particulars of this fascinating Course, will be sent you gratis. Write for
one to-day to: —
THE PRINCIPAL, STUDIO 183,
THE ASSOCIATED FASHION ARTISTS,
11, NEW COURT, LINCOLN'S INN, W.C.2.
Send for your
^MB< Amami
(ah-ma-me)
Sampler
^his sample contains
AMAMI PERFUME
(as sold at 119)
MANICURE STONE
(as sold at II-)
AMAMI SHAMPOO
(as sold at 6d.)
and dainty sachets of
CREAM, SOAP.POWDER
(in three shades). AUHURN
for HaiuBATH DUSTING
POWDER, TALCUM,
DEN Tl FRICE.CA CHOUS,
NAIL POWDER, and leaf-
lets of AMAMI ROUGE,
Also an intriguing hook on
BEAUTY CULTURE by
MARIE D'ANfOU.
Jtll AMAMI specialities are
obtainablein usual-size packings
from the better Chemists and
Coiffeurs.Send nou! for Sampler
Box No. 20.
You will be particularly inter-
ested in this AMAMI Sampler
if you regularly delight in the
luxurious fragrance of AMAMI
SHAMPOOS. Most women do. Yet
AMAMI Beauty Aids also cover Cream,
Soap, Powder, Perfume, and Manicure re-
quisites— everything vital to your day and
evening toilet. Rather than unduly praise
them in print, we prefer that you should test
them in use, and for this
purpose the Sampler
Beauty Box now awaits
you. To ensure a fair dis-
tribution requests will be
dealt with in strict rotation
Send a P.O. for 2/ (which
covers postage) to-day to :
at you should test
it
'Perfumers to Her Majesty the Queen and by fioyal Appointment to
H.M. the Queer, of the Belgians.
57, Hiymarket, IOHDON, S.W. 1.
;sz^^Z^5£^Z^\7ZSs^C£v*2^
tf/te Swoe/Oc/oi/r
The refreshing fragrance of
Price's Old English Lavender
Soap is appreciated by young
and old alike.
This attractive soap is put up in neat
wooden 6 and 12 tablet boxes which
make attractive and acceptable Christ-
mas gifts.
Miniature Sample " Lavender Square,'''
2d. post free. Send name of your Stores.
price's
LAVENDER
SOAP
PRICE'S, Battersea, S.W.II.
WHY REMAIN GREY?
The One Method Endorsed by the Prets.
"THE QUEEN," The Lady's Newspaper,
" 'FACKTA TIVE 'certainly isadmirabU
in its results. Its effects are permanent }
it is delightfully clean ami easy to use."
"SUNDAY TIMES" says:
"'FACKTATIVE' is Nature's own
remedy, and of its efficacy one can scarcely
speak sufficiently in praise. . . . 1 have
Personally used this restorative. lean my -
self testify to the truth of all i:
rti Contplish.n
HYGEIA, Editress, • Secrets of Health & Beauty.'
•LADY'S PICTORIAL
"As a real remedy for restoring loss of col-
our,it is a thoroughly reliable preparation"
If you are troubled in an> way about your
hair, sent! at once for the " Book of Hair
Health and Beauty " FREE.
Address your application to
THE " FACKTATIVE ' CO. (Suite 63).
66, Victoria Street, Weitmitutar, London, S.W.
Permanent Results
by Natural Process
There is only one satisfactory method
of restoring grey hair to its natural
colour. That is to revivify the pig-
ment-cells of the hair so that once
again the colour is re-created nature
alty.irom within.
How this can be done is shown in a
remarkable brochure which will be
in plain envelope) to every
reader of the " Picturegoer " who
applies for it.
This book tells of the remarkable re-
sults obtained by Society men and
women by the use of " FACKTATIVE."
" Facktative " is not a dye. It con-
tains no colouring matter whatso-
ever. Yet, under its influence, gradu-
ally but surely the hair permanently
regains its original hue and lustre.
Satisfactory results are positively
guaranteed.
Doctors Avoid Colds
by keeping the'nose in order. Inhaling the
germ-killing fumes given off bv the contents of
Dr. MACKENZIE'S
SMELLING BOTTLE
is the safest cure or preventive of
COLDS OR. INFLUENZA.
Of all chemists and stores. 2/- •' or post free in U.K. for 21 3
Dr. MACKENZIE'S COMPLEXION WAFERS
assist nature to preserve clearness, sottm thness of
skin, with brilliancy of eve. Absolutely harmless. 4/6 box of 80
wafers. Half-box 2/9, or 6 for 12/6. Post extra abroad.
Dr. MACKENZIE'S COMPLEXION ,SOAP
Superfatted cold cream. Nourishes and preserves the skin.
1 3 cake. Box of 3for 3'6- Unscented, 9d. cake.lZ for 8/-
Dr. MACKENZIE'S LABORATORIES, Ltd., READING, ENGLAND.
Picf-\jKes and Picf\jre$uer
DECEMBER 1922
SMALL ADVERTISEMENTS.
3d. per Word ::: Minimum 3 Shillings.
STAMMERING. — Guaranteed Cure. Particulars
free. — L. Burton, 27a, The Square, St. Anues,
Lancashire.
HPROUSSEAl 56s. 'Hi. .-( garments; smaller set,
1 37V. gd. Easy Payments; list, stamp.— Marie
(L.A.), q<), Tottenhall Road, N. 13.
" PICTURES AT HOME." Machine and film lists
1 tree. — Pictures, too, Keulor Road, Tooting.
1_)HOTO Postcards of yourself, 1/3 doz. ; 12 by 10.
i Enlargements, 8d. -my Photo. Catalogue,
samples free. — Hackett's, July Road, Liverpool.
/~200o worth of cheap photographic material ; sam-
7^ pies and catalogue tree. — Hackett's Works, July
Road, Liverpool.
PICTURE POSTCARDS of Film Favourites.
Packet of f>o, all different, as selected by us,
posl free for 3/-. Hundreds of others. List free on
application from Picture Postcard Dept., 88, Long
At re, London, W.C.2.
HOME CINEMATOGRAPH Machines and Films.
Lists free. Cinema, 114, Fernlea Road,
Balham
HOME CINEMATOGRAPHS. Machines from
7/6, with Take • up from £3. Large Stock of
Films. Sample Film, 1/- post free. -Desk " G," Dean
Cinema Co., 91, Drayton Avenue, West Ealing
London, W.13.
HOME ENTERTAINMENT Cinema Machines.
Real Films. Catalogue free. — Kinemato-
graph, 9, Dames Road, Forest Gate.
SET of Lovely Pearl Earrings can be obtained
free by any lady who writes for particulars of
the NEW RADIANT REPRODUCTION PEARLS,
ju^t introduced into this country. Send your address
to-day to:- British Mutn .1 Trading Co., 16 and 17,
lure Square, Bishopsgate, London.
1-MFTY DIFFERENT STAMPS FREE to appli-
L cants for approvals. All Jd. each. Send
postage. Cox 135, Cambridge Road, Seven Kings.
THE SMALL SHOWMAN'S FRIEND. Complete
Film Programmes ; 8,000 ft. Feature, Comedy,
Cowboy, Travel, 16/-. Three Days Hire, post paid
this way. Lists. —Vincent, Hippodrome. Camborne.
A POSTCARD will bring you price-list and easy
, terms for Watches, Rings, Cycles, Suits, Rain-
coats, Boots, Baby Cars, Cutlery, etc., from 3/- monthly.
Send a postcard to Masters, Ltd.. 80 Hope Stores Rye.
LEARN to write Articles and Stories ; earn while
learning. Booklet tree. — Regent Institute,
13T, Victoria Street, S.W.I.
STOUT PEOPLE Made Slim by " CORPULEEN."
Absolutely Harmless. Get a box to-day from
your chemist, or send 4/6 to — The Corpuleen Co.,
73V, Edgware Road, W.2.
NOVEL XMAS CARDS FOR PICTUREGOERS.
Set of six charming hand-coloured Xmas Greeting
cards with photogravure portraits of such prime
favourites as Mary Pickford, Charlie Chaplin, Pearl
White, Owen Nares, Violet Hopson, and Stewart
Rome, complete with Greetings, tied with coloured
ind six plain envelopes. Price r/6 the set of six,
complete, post free; or two sets for 2/0. To avoid
disappointment order early from Pictures
88, Long Acre, London, W.C.2.
WIRELESS SETS. The Simplest, Best and
cheapest sets and parts for the Beginner.
Illustrated Catalogue free. Disk " G," Dean Trading
,1, Drayton Avenue, West Ealing, London, W.13.
" ""pHE. perfumi of an old English Garden, blended
1 in a ' Pot Pourri.' " Prepared from a se
teenth-century recipe. Art carton with silver-plated
complete, post paid, 6s. — Cowton, 73. Woodland
Gardens, London, N.io.
AUGMENTED EARNING POWER is assured by
training under the METROPOLITAN COL-
I
Unique Postal Courses of Sparc-time Study in all
business subjei ts. Send postcard to-day for[j" Guide
to ( mess " 132 pp. free.
SUBJECTS Accountancy, Secretaryship, Ad-
vertising Insurance, London B. Com. Degree,
Banking, Costing and Factory Organ
Business Training, Matriculation, Professional
Preliminary Examinations.
Record successes at Professional Examinations.
Many intensely practical non-examination courses.
Moderate fees by instalments, if desired.
Metropolitan College, Dept. 532, St. Albans.
LET GEORGE DO IT.
(Continued from * page 62.)
T. M. M. (Lock). — (1) Sessue Haya-
kawa was born June 10, 1889. (2) Yes.
(3) Born in Tokio. (4) Your prayer
was granted last month. (5) Five Days
to Live released April 16, 1022. (6) He
is certainly not giving up film work.
Thanks for thanks. Christmas and
New Year wishes reciprocated..
Talmadge Fans (Dundee).— (i)
Ducks and Drakes, released this month,
and She Couldn't Help It, both feature
Bebe Daniels. (2) Warren Kerrigan's
next release not decided, as he has
recently changed companies. (3) Lotus
Eaters, released April 29, 1922, features
Colleen Moore. (4) Any Wife, re-
leased next February 26, features Pearl
White. (5) Irish comedies are : All
Souls' Eve, released this month, which
features Mary Miles Minter ; The Luck
of the Irish, released April 12, 1922 ;
and Peg o' My Heart, now being made.
Minette (Fittleworth). — (1) Irene
Brown's only film appearance this side
was as one of the Court ladies in The
Glorious Adventure. She likes picture
work, and it is probable that she will
do more later on. (2) Mary's twenty-
nine, and Doug is ten years older.
(3) Mae Murray's next film is Broadway
Rose, and her leading man is Monte
Blue. Release date not fixed.
Helen of Troy (Edinburgh) is
polishing up the family claymore
because I called her a vamp. It was
because of your nom-de-plume , Helen.
But your suspicions of me amply
avenge you. You must have had bad
weather on your holidays to make you
think things like that. Madge White
was " Avery Denis " in Bars of Iron.
Yes, you may write again, despite your
hard words.
H. P. (Brixton). — Have you given
that title correctly ? Let me have a
few more particulars, and I'll try and
trace it for you.
Malvtna's Little Admirer (Cam-
berwell). — Yes, you are one of the
lucky ones. I should try Phillips for
that photo if I were you. Gamble in
Lives was released April 17, 1922.
Phroso released last month.
THE BLOOM OF YOUTH.
There is no denying it — a little
colour does improve one's ap-
pearance. An interesting pallor sounds
all right in a novel, but in real life
the girl with a wild-rose flush on her
cheeks scores every time. " Aphrosal,"
a new liquid toilet preparation, is
excellent for this purpose. It is not
a rouge, but a white fluid, which,
applied twice daily, tones up and
beautifies the skin, resulting in a
natural bloom and a return of the
roses of youth. " Aphrosal " costs
2s. gd., post free from Oakley House,
Bloomsbury Street, London, W.C.I.
MOVIE LETTERS COMPETITION.
The Correct Solutions ane as Follows.
Dear Panthea, ^'
If you will treat this as Strictly
Confidential and only Between Friends,
Nothing Else Matters, but I must tell
you how Mrs. Erricker's Reputation has
been at stake. Poor thing, she has
indeed paid The Penalty, for she has
discovered that her husband is really
Felix O'Day, The Bigamist, whose
whole life has been Nothing But Lies.
It is pathetic to hear her speak of
My Husband's Other Wife. His Wife's
Friend, Colonel Newcome, was the only
person who could have told the truth,
but Dead Men Tell No Tales, so the
brute knew he was safe — such was
The Nature of the Beast. It is another
case of Two Women, but he knows well
enough that she has been The Better
Wife. Suppose you were in her place,
Would You Forgive ? He tries to
make out that she was Always in the
Wrong, but I know for a fact that,
though she may have been called
Anna, The Adventuress, she was An
Innocent Adventuress — perfectly Inno-
cent. Of the other woman, the ques-
tion has been, Who is She ? Madame
X is the only name given at present,
but when it is revealed you will find
she was once none other than The
Notorious Mrs. Sands. Such is The
Price of a Good Time !
Yours,
Joy.
Bleak House.
Dear Faith,
Molly and I shall be so glad when
Nancy Comes Home. She is spending
Two Weeks At the Villa Rose, so will
come Straight From Paris. She is
getting several things from Lombardi,
Ltd., and I told her to Charge It
To Me.
Nance, as you know, has The Heart
of a Child, but I am afraid she is
learning What Every Woman Learns —
that The Butterfly Man is a constant
danger to one's Heart Strings, and
not a bit the kind with whom to
contemplate Marriage, which is A
Question of Trust. It will really
be The Last Straw if she does marry
The Fortune Hunter, Ernest Mal-
travers — his sort are largely responsible
for Why Girls Leave Home. But, of
course, The Girl of To-day meets All
Sorts and Conditions of Men.
It would be nice if you could run
over for Half an Hour some time. I
have seen a number of good films
lately, among them The Queen of
Sheba, The Miracle Man, and Peck's
Bad Boy.
I am writing this While the Auto
Waits, so must close.
With love from,
Mary Regan.
DECEMBER 1922
Pictures and P/cfurepuer
65
Ruth RolCltld, the famous Kinema Star,
writes :
" Pond's Cold Cream and Vanishing Cream are
invaluable preparations- I find them delightfully
soothing to the skin."
As beautifiers of the complexion Pond's Cold Cream and
Vanishing Cream, used in conjunction, are unrivalled. Pond's
Creams never promote the growth of hair.
Pond's Cold Cream is for use before retiring. It cleanses the
pores, smooths the skin, and banishes roughness, effectually
protecting the complexion against the effects of cutting winds
and frosts.
Pond's Vanishing (ream is for daytime use whenever required.
It vanishes instantly after application, giving the complexion a
freshened feeling and appearance, faintly perfumed with the
delicate fragrance of the rose.
"TO SOOTHE & SMOOTH YOUR SKIN."
Both Cruit'is of all Cltemists and Store* in fiandsonu opal jarst
1/3 and 2/6. Also Collapsible Tub* st 7$d handbag siz* ) and \f-
POND'S EXTRACT CO. (Dept. i$<,),
71, Southampton How, London, W'.C i.
J(plana
Cold Cream and
Vanishing Cream
Spare uour Hands !
Why wear them out with unnecessary
work over steaming wash-tubs? Why
suffer that soreness and washed-out feel-
ing at the end of the day ?
Let QPersiQ spare your hands, save
your feet, and ease your back. Let Q^ersij)
take over the heavy work of washing clay
and leave you fresh and unwearied
the end of it.
The modern Q^ersin way of wash
clothes is perfectly simple. Oxygen and
other wonderful and harmless properties
Q^ersiT^ do the cleansing. It is not even
necessary to soak the clothes overnight.
You will realise that QPersif) is th
greatest boon that modern washing-science
has produced, directly you allow yourself
to experience the relief it brings you.
Why postpone the pleasure of using
CPersiT} i Ask your grocer for it at once.
JOSEPH CROSFIBLD & SONS LTD., WARRINGTO
66
Pictures and .P/cZ-urepoer
DECEMBER !922
WrITH this issue THE PIC-
TUREGOER conies to the
end of its second year. You will,
I think, agree that it is a healthy
child, growing up
The Promise in the way it
of 1923. should go, and its
future is as rosy
as the cover of this issue. We
shall start the New Year with a
special number, that will be replete
with new and fascinating features.
Much space will be devoted to the
films of 1923, so that picturegoers
may learn what the New Year holds
in store for them. Don't miss the
extra-special January issue of THE
PICTUREGOER.
WHAT do I think ? " Ye
gods ! Terrible things
when I visit a picture house and
see such British productions as The
Golden Web, and
Almost Too Little Dorrit. They,
Deep for Words, especially the lat-
ter, bored me to
tears. I would love to see British
pictures beat the Yanks, but whilst
our producers make such slow,
dreary, monotonous stuff, the public
will fight shy of kinemas showing
British films. " Bleak House,"
" Little Dorrit," " Pickwick Papi
etc., are very nice to read, but
screened ! ! They've absolutely
no "go." Oh, buck up, British
producers ! Put some life and vim
into your pictures, and for Heaven's
sake leave Dickens in the library,
where he belongs." Regular Reader.
(Yarrow).
It can't be as bad as all that. Up,
Fans, and at him !
A FTER accusing me of being
«**• " prejudiced and running down
foreign films," D.M.R. (Birmingham)
uses the Englishman's privilege thus-
wise : " Your most
The Growl of the uninteresting fea-
Snper-Grouser. ture is, of course,
' British Studio
Gossip.' I never read it. Can't you
scrap this, and ' Pulling Pictures
to Pieces,' and the photo at the
top of ' The Thinker ' page, put-
ting ' The Thinker ' at the top
instead of at the bottom ? Also
cut the ' Good, or otherwise, en-
tertainment,' and ' the Cast includes '
out of ' Picturegoers' Guide.' We
can decide for ourselves what kind
of entertainment we're going to
get, if you just give us the names
of the two principals and a longer
and more detailed criticism of the
acting. We want shorter interviews,
too ; yours are too long, heavy and
humourless, like British films. Too
much space is given to doling out
facts, ponderously, and without a
smile. Why not use some of it to
print readers' letters in full, in-
stead of only bits of them, as at
present ? "
VOTES for the Venus and Adonis
of Screenland are being finally
counted, and the result will posi-
tively appear on this page nexl
month. Wallace
Polling Day Reid, Ivor Novello
Approaches. and Warren Kerri-
gan still head the
poll so far amongst the men. On
the distafl side, Mary Pickford,
Norma Talmadge, Peaii White and
Pauline Frederick lead. You have
still time to -end in your vote i(
you haven't already done it. Re-
garding the screen's finest emotional
actor, you have voted for most ot
the good ones, but left one of the
finest righl out in the cold. Surely
you haven't forgotten Victor Sea-
strom ?
READING your suggestions for
the perfect PICTUREGOER
is an education in itself. Votes and
vetoes are jostling one another
regarding the same
What Do features. Listen
You Want? to tln^. "Omit
' Kinema Carols,'
' Picturegoer Parodies,' and articles
like ' Featuring the Famous,' " com-
manded A/. IF. (London), and others.
(At which our tame parodist chuckled
and applied for a month's leave).
" I think," writes C. J. W. (Ireland),
" ' Picture Parodies ' are wonderful."
' Picturegoer Parodies ' are very
interesting. Whatever you do, don't
cut them," pleads E. A. (Honor
Oak Park). " Re-instal ' Opening
the British Ovster,' ' persuades
R. A. P. (Weymouth). " Cut out
the stories of the films and the
Fashion page." (This one's a
man. Fll omit his name.) " Give
us more ' British Studio Gossip,' but
less ' Stars and Their Homes,' '
suggest " Six Improvers " (Small
Heath). The plea for more British
news is stronger than the voices
of those who would have none at
all. Most of the British studios are
now making " Supers," and our
Oyster-Opener is sharpening his
knife.
HERE'S an observant young
lady. " I'm going to grumble
about one thing I've noticed in
the kinemas.
The Screen is
Silent.
son with the
remarks flash-
ed in sub-
titles — more
often than not
the players
merely strike
the right atti-
tude and as-
sume the right
expre.-sion. but
that's all. I think
this ought to be re
medied. What do
you think?" ( anada
(( 'at ford.)
It is very seldom
you see either
' his ' or ' her'
lips move in uni-
A. 64 ^
K -X <=kO
09272
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